During this year’s Women In Music Awards, we inducted a host of trailblazing industry executives into the Roll Of Honour, in association with TikTok.
They join a huge list of previous honourees, including some of the leading names from across the business like Kanya King, Sarah Stennett, Emma Banks, Charisse Beaumont, Rebecca Allen, Stacey Tang, Shani Gonzales and Mary Anne Hobbs, who have been selected since the awards began in 2014. The Roll Of Honour aims to shine a spotlight on the variety of individuals who are leading the charge in the music industry and consistently using their platforms to support women, or focus on empowerment and gender disparity.
Following the Women In Music Awards ceremony, Music Week is running Q&A interviews with all of this year’s Roll Of Honour inductees.
As head of music at Amazon Music UK/ANZ, Laura Lukanz leads teams across label relations, artist relations, programming and marketing.
With a career spanning more than two decades, Lukanz started out as a DJ on Manchester's pirate radio stations, before being part of the team that launched BBC Radio 1Xtra, rising from music assistant to become its first female head of music. Over 12 years with the station, Lukanz played a pivotal role in elevating the UK’s grime and rap scenes, supporting artists who are now household names.
At 1Xtra, she curated live events such as 1Xtra Live and the BBC Hackney Weekend, featuring performances from Kendrick Lamar, Alicia Keys, Wizkid, Skepta & JME, Mavado, Dizzee Rascal, Emeli Sandé and Nas. Meanwhile, 1Xtra achieved its highest-ever RAJAR figures, while her decade-long service on Radio 1’s playlist committee helped bring a wide range of artists to national attention.
Lukanz’s commitment to social impact has been a constant throughout her career, and while at the BBC, she developed U TAKEOVER, providing 25 young people not in education or employment with training, mentorship, and experience in radio production.
After leaving 1Xtra, she became EVP at First Access Entertainment, building the UK music team and developing its label and publishing division. She managed Grammy-nominated trio The Invisible Men and signed artists, songwriters and producers who contributed to global hits for BTS, Nicki Minaj, Charli XCX, Iggy Azalea, Ellie Goulding, Lil Peep, Wizkid, Afro B, Mr Eazi, Zayn and more.
Now, at Amazon Music, she continues to support emerging talent through initiatives including the Step-Up Fund with Featured Artists Coalition, the Breakthrough Lab for developing artists, writers and producers, and the Blak Loud. Under her leadership, Amazon’s Artists To Watch programme has supported acts such as Luvcat, FLO, Lola Young, The Last Dinner Party , Tems, Wet Leg, Pink Pantheress, Bea & Her Business, Nieve Ella, Sasha Keable, Nova Twins and more.
Lukanz is committed to opening doors for the next generation of industry talent and is an active member of The Cat's Mother network and the Manchester Music City Board.
Here, she reflects on her story so far…
Can you sum up your feelings about joining the Music Week Women In Music Roll Of Honour?
“Happy and proud! This recognition means a lot because it validates something I've always believed – that there isn't just one path to success in this industry. Being included alongside such inspirational changemakers is a real honour and it reminds me why creating accessible routes into the industry for all matters so much. My own journey is testament to that.”
How do you look back on your early years getting into the industry?
“With amazement – I had some serious hustle! Leaving school at 15, DJing on pirate radio, working full-time on a government training scheme to buy my records, studying sound recording and music tech at night school… those early years taught me invaluable lessons about graft, authenticity and resilience. It wasn't the conventional route, but it gave me a unique perspective on what's possible when you combine passion with relentless determination.”
Did you have a mentor at that stage?
“I didn't have an official mentor, but I took inspiration from many of the talented people that I have been fortunate to work with and several exceptional leaders along the way. From Willber Willberforce, Ray Paul and Lorna Clarke at the BBC, to Sarah Stennett, Chloe Roberts and Cassandra Gracey at FAE, and Jillian Gerngross and Paul Firth at Amazon Music – they’re a formidable mix of creative and business minds, all of whom I have learnt a great deal from. Through my work with The Cat’s Mother who help to support young women breaking into the industry, I’m proud that Amazon Music has been able to help to extend the mentoring programme beyond London, and in some cases will cover travel and accommodation to ensure geography isn't a barrier to opportunity. The data shows us that the prevalence of unpaid work in the industry, namely work experience and internships create significant financial hurdles, particularly for those from low-income backgrounds who live outside the capital. Natalie Wade and Sara Lord who founded it are two hugely inspirational selfless leaders whose dedication to nurturing the next generation of industry talent is truly transformative – I adore them both!”
The Women In Music Awards shines a light on inequality and deep-seated issues around this area in the music industry. Can you share any personal experiences or points of view on this topic?
“Being one of the only female DJs on our pirate station in Manchester, then the first female head of music at BBC 1Xtra, taught me that representation matters, but that access and opportunity matter even more. Talent exists everywhere, but opportunity doesn't always follow, especially for minorities and the working class. When I look at our industry in 2025, this mission of creating real access and opportunity for all, isn't just important, it's vital to its future.”
Having worked in different sectors of the business, you must have a good overview – with that in mind, what area or issue needs the most attention in 2025?
“Two critical areas stand out to me. First, as I mentioned previously, we urgently need to address the systemic barriers to entry in our industry. The statistics around social mobility in music are alarming; figures show that the proportion of working-class musicians has shrunk by 50% since the 1970s, and that decline continues. We need fundamental changes to prevent the loss of incredible voices and talent due to financial and social barriers. I believe we can do better, and we must do better, because our industry's future depends on hearing all voices, not just those who can afford to be heard.
“Secondly, and closely related, is figuring out how we can meaningfully address the decline in UK artists breaking locally and globally. The UK has always been a powerhouse of musical innovation and shaped global pop culture, but the game has changed and we're at a crucial turning point. We need to look carefully at the root causes and reimagine how we discover, nurture and amplify British talent to ensure it continues to resonate both at home and internationally. This isn't just about maintaining our cultural legacy; it's about securing the UK's position as a leading force in the future of music.
“To do this, I think we must invest in the pipeline that starts with ensuring music education provision in every state school, alongside long-term artist development, better pay and protection for our songwriters, championing authentic storytelling, prioritising home-grown talent, preserving grass roots venues and touring infrastructure, and building career artists who can headline Glastonbury in five-10 years' time. The alternative, to quote Bowie, is 'standing still while the world moves on' and becoming just another territory, rather than the innovative tastemaker nation we've always been.”
This recognition means a lot because it validates something I've always believed – that there isn't just one path to success in this industry
Laura Lukanz
Giving back has been a big part of your career for a long time. What drives you to work in these areas?
“Success isn't linear or out of anybody's reach, that's something I learned early. If the system fails you for whatever reason, it's easy to be written off, but I've seen how targeted support can transform lives. Whether creating the U TAKEOVER project whilst at the BBC for young people outside education and employment, mentoring through organisations like The Cat's Mother and Cre8ing Vision or developing initiatives for grassroots artists, I've witnessed first-hand how the right opportunity at the right moment can completely change the course of someone’s life or career.”
What's left on your industry bucket list?
“Ah, there is still so much to achieve! I want to keep pushing boundaries in how we support emerging talent, continue to create needle-moving, connective artist-to-fan campaigns, and ensure that we never lose sight of music's ability to bring people together and create lasting cultural impact and legacy. Having experienced different aspects of the industry, from radio to management to records and publishing to streaming, I appreciate how each position offers unique ways to work with talent and shape culture and I'm interested to see how these roles evolve. I'm excited about the possibility of more travel and maybe the experience at some point of living and working internationally.”
What's your biggest achievement so far?
“That I've been able to forge a career in music, my greatest love, is something I never take for granted. Looking back, I feel incredibly fortunate to have built a life around my passion, that's the real measure of success for me.”
What advice would you offer young women about enjoying a successful career in music?
“Get real-life experience in what you're passionate about – don't just watch or read about it, go out and do it. Build authentic relationships and trust your instincts. Your unique background and perspective are strengths, not limitations. Find your people, make those life-changing connections, and if the path isn't clear, be bold and create your own way. Often, the less conventional route leads to the most interesting places and people.
“Lastly, and this is something I'm still working on myself: find and believe in your voice. Don't let outdated perceptions of yourself hold you back, we're constantly evolving especially when we are brave and place ourselves in uncomfortable positions like taking a new job role or facing up to a fear. Acknowledge and embrace your growth and let it empower you.”
What's the best advice you've ever had?
“Firstly, be proud of what makes you different. It can be challenging not to feel pressure to conform, especially when you're in an environment where you don't quite fit. It's easy to doubt yourself or feel like an imposter. But remember, your unique perspective is your strength.
“Secondly, never lose sight of what made you fall in love with music in the first place and stay curious. Throughout my career, maintaining that genuine passion for new music and curiosity has kept me motivated, connected, and constantly learning. Your job role might evolve, but your core purpose doesn't have to.
“Most importantly, I've learned it's not just about career progression; it's about building a journey in music that continues to fulfil and inspire both you and others. Leading with empathy has shown me how to turn my own experiences of feeling different into understanding and supporting others. This approach, combined with a focus on inclusion, creates spaces where everyone can thrive. Ultimately, stay true to yourself, keep your love for music alive, and let your purpose guide you. These principles have been my compass throughout my career, even in the face of industry challenges and changes.”
Is there a young woman you'd like to shout out who you think is a rising star in the industry?
“Renette Momodu, who I met through The Cat’s Mother mentoring network. She has just secured a fantastic role in Talent & Partnerships at Amplify and what makes Renette special is her combination of intelligence, determination, genuine kindness and integrity. She's someone who brings both ambition and sincerity to everything she does. I've been incredibly proud watching her make bold moves to pursue her dreams this year. She's definitely one to watch and Amplify is fortunate to have such a rising star on their team.”
Similarly, is there a young woman artist whose music you're enjoying right now/excited about?
“Yes, there are loads as always. I love the Nia Smith record, I haven't stopped playing her debut EP Give Up The Fear and also Sienna Spiro's debut EP Sink Now Swim Later. CMAT is always on my playlist, and all of Olivia Dean and Luvcat’s records! It’s so great to see Sasha Keable flying high and I'm also enjoying music from Shanny Wise, DAMEDAME, Lynda Dawn, Deb Never, John Glacier, kwn, Flowerovlove, Rubii, Tyler Lewis, Chloe Quisha, Mariah The Scientist and so many more.”
Finally, what's your biggest lesson from 2025 so far?
“Two things; that vulnerability is indeed a superpower and, after experiencing a series of incredible live shows, I had a powerful reminder of music's ability to unite people across generations. Those moments of pure collective joy, when divisions disappear and thousands of voices join together – it's a profound and incomparable feeling.”
