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.
Portia Clarke-Millanaise is a senior music industry executive and cultural strategist with immense experience shaping global music, lifestyle, and brand activations. She currently serves as head of marketing at BET UK, a Paramount brand, and is the founder of Aislefortyfour, her own creative agency.
Formerly chief of staff at TMG, Clarke-Millanaise oversaw commercial operations across entertainment and marketing for leading live experience brands, including Afro Nation and Piano People. She has also held senior roles within the major label system, notably as head of marketing at Universal Music Group (Motown Records and Virgin Music UK), where she spearheaded campaigns for both UK and international artists such as Tiana Major9, Babyface, City Girls, Fredo, Krept & Konan, NBA YoungBoy, and Nemzzz.
Previously, Clarke-Millanaise also made history as the first-ever genre lead at Warner Music Group UK, where she was responsible for exporting Black music internationally. During her tenure, she drove chart-topping success and award-winning campaigns for artists including Tion Wayne, Russ Millions, Ghetts, Pa Salieu, Kojey Radical, and Stalk Ashley. Her achievements include multiple global No.1 records, gold and platinum albums, and securing Pa Salieu’s debut performance on The Tonight Show Starring Jimmy Fallon.
Alongside her label and executive career, Clarke-Millanaise has built a strong reputation as a consultant, delivering brand strategy and activations for some of the world’s most influential companies, including Red Music, Bacardi, Sony 4th Floor Creative, Black Butter Records, Pepsi, Spotify, Clarks, Atlantic Records, Monster Energy, and Campari. She has delivered global portfolios spanning the UK, USA, and the Caribbean, producing high-impact cultural moments at the intersection of music, lifestyle, and diversity.
Her award-winning work includes producing Bacardi’s four-part documentary series Sound Of Rum (winner of three Brand Film Festival Awards) and curating Bacardi’s first-ever Notting Hill Carnival stage, featuring Major Lazer, Stefflon Don, Giggs, and Mr Vegas, which delivered record-breaking engagement for the brand globally. Through Aislefortyfour, she has also produced Red Bull Culture Clash events in Atlanta (with Kranium) and London (with Popcaan), as well as high-profile Wray & Nephew Notting Hill Carnival stages.
Recognised as one of the industry’s leading creative executives, Clarke-Millanaise has been named on Pitch’s Top 100 Creative Superwomen (2019), 100 Influential Women Of Colour by Black Magic Network, and the She Said So Alt List (2020).
How do you feel about joining the Music Week Women In Music Roll Of Honour?
“I’m genuinely humbled and honoured to be joining the Music Week Women In Music Roll Of Honour. It feels a little surreal, as my career path hasn’t followed the traditional route. For me, this recognition is about more than an accolade, it’s an opportunity to celebrate the progress we’re making, to acknowledge that no two journeys are the same, and to hopefully encourage more women to step forward. As the daughter of a Jamaican immigrant who came to the UK through Windrush, and a British-born St Lucian mother, I’m proud that I persevered and carved out my own path. To now be recognised alongside such incredible women is something I’m sincerely grateful for.”
Can you paint a picture of what your early years getting into the industry were like?
“I remember from the age of 13 wanting to work in the music business, but also not seeing anyone who was Black and female doing this in the UK to believe it was possible. I left uni with a 2:1, and did work experience at Choice FM, then Capital Xtra, BBC 1Xtra and an internship at Greensleeves Records and then applied for roles. I was always getting the interviews, never the jobs. I then created my own lane. Things have changed, but there is still work to be done.”
Apply for that job: statistically women are less likely to apply for a job they may think they’re not qualified for – go for it!
Portia Clarke-Millanaise
Did you have a mentor at that stage?
“Not officially, no, however my lecturer Dr Ray Sylvester pushed me academically from year one at uni. Career-wise, Pierre Bost gave me my first label job as a marketing intern at Greensleeves. The first woman who looked like me that I saw doing anything in the music businesses was Sharon Burke and that was in the Caribbean and America, then several years later Carla Marie MBE. Most definitely family members [were mentors too]. Mentors are extremely important and I believe there are now more opportunities for people to have mentors, and I do not think this is age-restricted either. I mentor a few people myself. Mentorship comes in different forms, it first starts with representation. People need to see it to believe, which is why platforms and awards such as Women In Music and Girls I Rate are needed to shine the light on women and give opportunities.”
As you said there, the WIM 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 a woman in music and a Black woman, too, adds an additional layer. I remember at one point I was, I believe, one of six – give or take – Black women who were heads of marketing/senior within the recording industry in the UK. That should not be a thing. WIM highlights some of the amazing work being done and it does not mean men cannot be allies, as it’s needed for true change. Having those allies makes a difference. Without Women In Music many of us are out of sight, out of mind.”
Having been involved in so many big moments for artists who have played a key part in the rise of UK Black music in recent years, what would you say is the secret behind an artist truly cutting through and creating defining moments?
“In my professional and personal opinion, it’s an artist betting on themselves, even when others don’t see it, and also knowing and understanding their audience. I remember working with Nemzzz to deliver the marketing for 2MS – Nemzzz and his manager Alex Omisesan and I were discussing the marketing campaign and I said to him, ‘No one knows your fans better than you!’ We took that and ran with it by doing his first meet and greet with Wingstop across the UK and it was the first time his fans got to see him, due to lockdown. Seeing his fans from some of the smallest villages in the country popping up to see him was great and the single went on to be the first certified UK signing for Motown UK.”
How do you see the landscape for Black music in the UK right now?
“Fearless, and rightfully claiming its international recognition as an export. Artists are exploring marketing outside of the UK and growing their fan bases in emerging markets which is exciting – we’re seeing more opportunities for artists.”
Looking at UK Black music’s impact in the US, how do you see it evolving in the years to come?
“I love this question. I see it evolving in the US in a multitude of revenue streams by the festival and live programming line-ups starting to include UK talent more. Promo opportunities are opening up with the likes of TV shows, such as Jimmy fallen and On The Radar Radio, giving our talent their platforms for our music to be discovered by a younger audience. Gaming and twitch is also a big gamer changer.”
What’s your biggest achievement so far?
“Being the first Black music genre lead for Warner music international and delivering the international marketing for Tion Wayne’s Body – the first UK drill No.1, and a No.1 in Australia. And also bringing Usain Bolt to Notting Hill Carnival!”
What advice would you offer young women about enjoying a successful career in music?
“Lead by example and not trends, and always stand for something or you will fall for anything. And, finally, apply for that job: statistically women are less likely to apply for a job they may think they’re not qualified for. Go for it!”
What’s the best advice you’ve ever had?
“My friend Leroy, who is like a brother to me, once said to me, ‘Be exclusive, don’t work on everything and for everyone.’ And, in general, stay true to yourself – it will always work itself out.”
Is there a young woman you'd like to shout out who you think is a rising star in the industry?
“Shan Kimoy, the PA and content manager for the Grammy nominated artist Spice, and also the presenter Jay McGregor. I know you said one, but then a third would be Rehana Perkins, marketing manager at Mixtape Madness and podcast producer at the Awkward Network. And a final young lady is Yewi Oms who recently delivered The Ciara marketing in the UK.”
Similarly, is there a young woman artist whose music you're excited about right now?
“The first thing I listen out for in a new artist is melody, an artist with a good melody is always a go-to for me. This year I have two artists on repeat: I love US artist Honey Bxby – she’s signed to Warner. I came across her from a freestyle she did on The Radar called Left Eye. Another artist I have on repeat is a British artist called Ling Hussle. I loveeee her, and her hooks and lyrical content. Leah is managed by Tion Wayne’s team, she’s a new refreshing raw talent.”
Finally, what’s your biggest lesson from 2025 so far?
“This year I transitioned into the mass media entertainment industry, as head of marketing at BET UK, a Paramount brand. Growing up it has always been a goal of mine to work for BET, this has been part of my foundation growing up. Whilst this was always a dream of mine I never saw it coming. I doubted going for the job, – I had to tell myself I had nothing to lose and everything to gain. I put myself into a new situation and it paid off. I’m learning new things, work with a lovely team: Cicelia Deane, editorial commissioning executive, and Kerrianne Taylor, digital & social media lead. My lesson from this has been that change is scary, but change is good and needed to grow. In addition, my cultural creative agency’s core focus is the Caribbean, through storytelling and business strategy. This year we produced the winning crew for Red Bull Culture 2025 UK, Spice Army, and Puma’s launch of their Jamaican colourway H-Street by producing the activation that brought Usain Bolt to Notting Hill Carnival.”
PHOTOS: Louise Haywood-Schiefer / Panni Renner
