Christine Ochefu
Learn more about Christine and her work via her website here and her Instagram here.
How's everything going for you at the moment?
It’s ok, I’m probably doing much better than most but that’s mainly because I no longer exclusively cover music in my writing or even brand/market myself as a music journalist anymore (sorry as I know this is the point of your piece!). My income is high, I’m working with a range of clients and commissions/retainers steady, but the bulk of my work is now focussing on tech, finance and travel niches rather than music writing.
What are the main challenges you're facing?
My general main challenges are things like keeping a steady inflow of work (which takes consistent marketing), juggling multiple commissions, trying to be strategic about growing my business. However if you asked re music writing specifically it’s probably finding places to take ideas in general! I don’t think people really understand the extent to which publications, even ones that are still surviving, have slimmed and/or deprioritised their music commissioning arms, which is a real shame.
How about your music writer peers, do you have much insight from them and are they facing similar issues?
I don’t go on social media like Twitter (X) much anymore, which is maybe emblematic of the problem. But the lack of work I see circulating on the social media I do go on speaks volumes. I don’t really know anyone who is making the bulk of their income or work in this niche currently, and a lot of other writers are reallllly struggling or moving into other lines of work that maybe has a music crossover, which I think can be really rewarding for some people.
What would you say are some of the deeper issues/catalysts behind the challenges you/other writers are dealing with?
I mean where to start… But a major thing I would attribute is unfortunately audience engagement. I think a lot of former listeners-turned-readers are now listener-turned-viewers; people, especially younger fans who are prioritising short form, clippy soundbite social content rather than written work, at least regarding music anyway. Which is a shame because that sort of content is often intended to be top line, quite lightweight and superficial, and not nearly as in depth as traditional press. What people don’t realise from this is that social media prioritisation is in turn changing artist priorities. I can think of at least two major artists top of my head who have forgone their typical press rollout in favour of social street interview type press, when there’s no chance they would have done that 5 years ago even. Also, cue rant about shrinking budgets, loss of print media etc etc :(
What are some of the methods you've employed to navigate the current music writing landscape?
The one I have hinted to throughout- diversifying! Honestly it’s necessary. In the same way in previous times music writers adapt, maybe getting jobs at labels, focussing more on marketing, I always think it’s important to do the same. Another thing I suggest is again seeing how your writing can support other music related avenues, like organisations, charities, venues etc. I am not saying there is no audience for music press at all, that’s not true. But the traditional avenues are slimming, and you can’t sell something there’s minimal audience for (or this will at least be much harder).
How much support do you have from others (writers, friends, family, organisations)?
If this is in terms of monetary support then I am completely independent. But in terms of emotional support there are other writers I’m able to sound off if I have a problem. Organisations that claim to give writers support (and I would like to state that I strongly support unionisation despite what I am about to say) are generally WOEFUL indeed as per my experience. I actually think we could do more with some niche specific unions personally, and would love to hear from anyone who thinks the same…
How could writers be supported more... especially within the arts/music?
For starters, some of the unions could do their jobs. But as a general answer to this question, it depends on what we mean by support, and who we attribute responsibility to do that. Like I could say better pay, more opportunities and commissions, further investment in development and crafting. But who holds the keys to make that happen? I will say that there are people whose deductive job it is to support the writers they’re working with, that’s editors and publications. A lot of them could start by holding the same standards of work appropriate practice with freelance writers that they do (or at least should do) with staff in-house, or actually following their own work safety guidelines. Some practices that I’ve faced whilst writing with major publications have been abhorrent, and I don’t intend to keep quiet about my experiences.
I'm curious about the positives. What's going well for you at the moment and what's exciting you about music writing?
This is counterproductive to your question, but what’s going well is discovering a world outside of it! I’ve changed to writing a lot about tech, travel and finance which is really rewarding, particularly travel writing. This often allows me to exercise the same creative muscles that music writing does, and similarly has a large overlap subject wise with music. There is such a world outside of music I’m afraid, one that tends to pay much better and be really invigorating. I would encourage other writers to explore other passions they have in their work, which I have been led to do. For example - shameless plug! But I’m in the stages of finishing my novel too, which I definitely wouldn’t have even thought about if not propelled by my start in music writing.
Big question, but, if you could wave a wand and magically solve the issues we're facing, what would be your main targets for positive change?
One would be recapturing disengaged readers, and showing new audiences the value of music writing. The audience are the nucleus to me so tailoring to their changing needs and preferences is important. If no one’s reading the work then you could say it’s a masturbatory exercise (hope people don’t bite my head off for that but it’s to be considered)… again, I don’t think readers no longer exist, but the way we as writers work with them is going to have to change, which takes a lot of thinking to achieve.
Funding and investment for obvious reasons.
Work safety, ethics and standards for less obvious reasons. I’m not sure how I could personally advise any woman to undertake this writing niche considering how I and other women have been treated thus far.
Any advice for emerging freelance music writers?
Diversify your portfolio. I think the unfortunate truth is that a lot of music writers, or maybe creatives in general, are thinking far too much about their own interest in a particular line of work rather than if there’s the buyer for it. What I suggest here leans to the ikigai principle; think audience first. It may be useful to think about leveraging your own vehicles for getting your writing out rather than relying on traditionally important publications, whose influence and presence is changing (some might even say, diminishing) every day. So the floor is open for new ways of working, and new methods of capturing audiences who want to read about or engage with music. So.. substack? Starting your own mag? Brand work? Again, it all requires much brain power, but Godspeed to those giving it a go.