WSA Public Choice & Game Music Awards

WSA Public Choice & Game Music Awards

The public voting is open until August 15 (23:59 CEST).

What are your favourite film and game scores of the year? Which soundtrack have you been listening to all year long? Let’s hear! Vote for the WSA Public Choice and Game Music Awards 2026. The winners will be revealed during the World Soundtrack Awards Ceremony & Concert on 10 October 2026.

The longlists were curated by the Composers Diversity Collective (CDC), UK & European Guild of Music Supervisors (GMS), the Alliance for Women Film Composers (AWFC) and the International Film Music Critics Association (IFMCA).

How to vote

Go through the following steps to vote for the Public Choice Award 2026:

Longlist Public Choice Awards 2026

Longlist Game Music Awards 2026

Spotify Playlist

Listen to the longlists on Spotify. Currently not all eligible scores are available on Spotify. See below!

Guild Members at Spain on Stage

Spotlighting Spanish Music on an International Stage

Earlier this month, UK & European Guild of Supervisors members were among a select group of international delegates invited to attend Spain on Stage, a new industry gathering in Cádiz and El Puerto de Santa María focused on the global potential of Spanish music.

Taking place from 20–22 April, the event brought together around 40 international delegates alongside Spanish bookers, A&Rs, promoters and music supervisors, creating a highly curated environment for discovery, collaboration and exchange.

With a programme spanning live showcases, B2B meetings and networking sessions, Spain on Stage positioned itself as more than a traditional showcase—offering a focused space for meaningful connection between those shaping music across sync, live and recorded sectors.

Among those invited were Guild members Jen Moss, Lucy Bright and Connie Farr, representing the UK within a wider European cohort of decision-makers.

A meeting point for tradition and forward-thinking

At its core, Spain on Stage is about bridging worlds: connecting the depth of Spanish musical heritage with contemporary global audiences. The event placed a particular emphasis on roots, flamenco and folk traditions, explored through a modern lens and presented with clear international export potential.

Across multiple venues in Cádiz and El Puerto de Santa María, delegates experienced a curated series of performances alongside industry sessions designed to spark conversation and collaboration. From intimate showcases to larger-scale concerts, the programme reflected the breadth of Spain’s current musical landscape, where tradition and innovation sit side by side.

Backed by the Spanish Ministry of Culture and supported by key industry partners, the initiative forms part of a wider effort to strengthen the international reach of Spanish repertoire and create new pathways for artists to connect with global markets.

EVENT HIGHLIGHTS

For music supervisors, events like Spain on Stage offer something increasingly valuable: direct access to emerging talent within its cultural context.

Rather than discovery happening solely through digital channels, this kind of in-person exchange allows for a deeper understanding of the stories, traditions and creative intentions behind the music—something that can be crucial when placing tracks in film, television and advertising.

The presence of supervisors alongside bookers, promoters and labels also reflects the growing importance of sync as part of the wider music ecosystem, and the role supervisors play in shaping how music travels across borders.

GMS members in the room

It’s always encouraging to see Guild members represented in spaces like this—where international conversations are being shaped and future collaborations begin.

Jen Moss (SIREN), Lucy Bright and Connie Farr(ThinkSync) were among the invited delegates, sharing their wealth of experience and contributions to music supervision by championing new music within a global context.

Alongside the concerts, showcases and drinks receptions; the supervisors were invited to take part in a speed meeting session with various Spanish rights owners across both the independent and major sectors. They also took part in a “live music supervision workshop”, an interactive session where rights owners and other Spanish music professionals pitched Spanish music for an imaginary film with the guidance and assistance of the supervisors, thus allowing for a fun and educational insight into the mechanics of music supervision.  

Jen said: “It was such a joy to have been invited to an event as special as Spain on Stage. I not only got to discover some incredible local artists in some stunning venues but I learned a ton about Spanish music and its heritage in the process.  I also got to meet with local rights owners, some of whom I had been dealing with on a Spanish co-production called “The End of It”. Not only was I able to put faces to names but in a fortuitous turn of events, I found out that the film was one of two I am working on to make the official Cannes Film Festival selection whilst out in Spain. Getting to tell the labels and publishers whose music I helped place in person was a real highlight.”
Events like Spain on Stage reinforce the value of connection and dialogue between cultures, sectors, and between the people who bring music to audiences in different ways.“

Learn more about the event here: https://spainonstage.es/en/

Primavera Pro Listening Sessions – Presented by the UK & European Guild of Music Supervisors

Is your music perfect for gaming, film and advertising? 🎬

If you are an artist, composer, or manage a record label or publishing company, this is your chance to showcase your music to internationally renowned music supervisors and sync agents. Primavera Pro, together with Unison, Too Young Ltd., and the UK & European Guild of Music Supervisors, invites you to participate in the fourth edition of the Listening Sessions during Primavera Pro 2026. 
How does it work?
On Tuesday, May 5th, the submission link will open, alongside an open webinar covering rights, metadata, and pitching strategies. The webinar will feature music supervisors from the UK and Europe, operating in advertising, film & TV, and video game industries.
Key Dates:
Tuesday, May 5th (10 a.m CET): Submission Link Opens.
Tuesday, May 5th (7 p.m. CET): Before the Brief: Sync Readiness and the Supervisor Conversation Webinar 
Monday, May 18th: Submission Deadline.
Thursday, May 28th: Selected Projects Announced.
Thursday, June 4th: Exclusive Listening & Networking Session at Primavera Pro.
What you need to do: 
• Fill in the application form & send your music via DISCO from May 5th. (Link will be provided once the applications open)
• Be available in Barcelona during the Primavera Pro 2026 Listening Session (Selected candidates without accreditation will receive a Conference Pass).
 
Get Ahead of the Game 🚀
We have attached the Before the Brief: Sync Readiness Checklist.
We highly recommend reviewing this now to ensure your metadata and rights are in order. Only 10 catalogues will be chosen. Don’t miss your chance!
 
Everything you need to know to attend Primavera Pro

The meeting between professionals will take place from Wednesday 3rd to Friday 5th June at the CCCB and there will be areas to do some networking and enjoy the festival in the Parc del Fòrum until 7th June. Primavera Pro Conference Pass accreditations are now available, offering full access to all the activities programmed at the CCCB.
 
If you want to make the most of the whole experience, and have access to the whole Primavera Pro and the Primavera Sound programme (which is already sold out), you can buy the Primavera Pro Basic or Primavera Pro Premium accreditations. Please note that there is a small quota available for GMS Members. Email us here: info@guildofmusicsupervisors.co.uk 

BECOME A VOTING MEMBER OF BIFA

Apply to vote for BIFA here! Deadline is Sunday 8th March 2026

BIFA NEEDS YOU!

BIFA is on the lookout for experienced filmmakers and practitioners to join their 1,500+ voting pool of industry professionals and take part in selecting the annual Awards nominees and winners. They’re particularly keen to expand their pool of regional voters, people from diverse and representative backgrounds, and craft professionals — so if you’re based outside London, from an ethnic minority background, or working in a craft role, they’d love to hear from you. You can find out more about BIFA’s voter criteria and requirements here. The deadline to apply is Sunday 8 March.

If you have any questions on the process, reach out to hello@bifa.film and you can see instructions for applying here.

Useful links:

Voting
Rules and Eligibility
APPLY TO VOTE FOR BIFA

Your Voice Matters: GMS UK & EU Diversity Survey


Our deadline has been extended to December 19th!

This autumn, the UK & European Guild of Music Supervisors launched its Diversity Survey, the first extensive demographic research of the UK and European sync industry. 

Open to everyone working in sync in the UK or Europe (including non-GMS members, music supervisors, rightsholders, libraries, agents etc.), the survey will help the Guild create an accurate profile of the sync industry and tailor its approach to inclusivity.

Newly appointed Head of DEI & Mentorship Isaac Allaway (he/him, Feel For Music) anticipates the project bringing visibility to underrepresented voices in the sync community: 

“The GMS UK & EU Diversity Survey feels like a real turning point for inclusion in sync. For the first time, we’ll actually be able to see who makes up our industry – and where the gaps are. Getting the survey out there has been a huge team effort (indebted to many people, namely Jumi) and an achievement in itself, but it’s really just the beginning. The real mission starts when we sit with the data, take a frank and clear look at the make-up of our industry, and start to do something about it. I’m really curious to see the results of our survey and excited to get to work with bringing initiatives to our board. My aim over the next few years is for us to nourish a more diverse, balanced industry – one that listens, adapts, and stops losing people to the same old mistakes.”

Founded in 2020 by Abi Leland (she/her, Leland) and Carmen Montañez-Callan (she/her, Independent), the DEI & Mentorship committee is an active group of 12 volunteers. The team partnered with Black Lives in Music to develop this project.

To promote the Diversity Survey, David Simkins (he/him, 45RPM) and Lauren Wilson (she/her, 45RPM) designed a sandwich board to wear at onestop music’s Vinyl Hunt.

Pictured: DEI & Mentorship Co-Lead David Simkins with D&I Committee Member Ipek Ozsoy (she/her) promoting the Diversity Survey at onestop music’s Vinyl Hunt.

Thank you to everyone who has participated and shared the survey so far. If you haven’t already, there’s still time.

Add your voice here and share with your network: https://www.surveymonkey.com/r/8Z828VD

Deadline: 11:59pm Friday 19th December.

David Simkins (he/him), Co-Lead, GMS DEI & Mentorship Committee

Bridging Worlds: Sync, Storytelling & Global Collaboration at the IMPF Global Music Summit – Palma de Mallorca

A spotlight feature on the IMPF Global Music Summit in Palma de Mallorca by Paul-Loup Marquise – Music Supervision, Music Rights & Sync Licensing Consultant (France), Music Coordinator for Michelle
De Vries, Publishing & Sync Agent for Extra Mile Music and Music Administration Support for Mediawan Music.

[Photo: Evening Cocktails – IMPF]


There’s a special kind of energy that happens when music supervisors, publishers, and creatives
gather in the same place to talk about how stories sound. That was the feeling at this year’s IMPF Global Music Summit, held from October 7-10 in Palma de Mallorca— four days of conversation and connection set against the Mediterranean, where the future of sync felt both global and personal.


Day 3 — “The Sync Day” — offered a comprehensive look at music supervision today and its
changing landscape: exploring the creative, technical, and cultural facets.
The day opened with a keynote from Lindsay Wolfington (President, Guild of Music Supervisors (US) /
Lone Wolf Music Supervision) in conversation with Teri Nelson Carpenter (Reel Muzik Werks).


Drawing from her experience on U.S. productions like XO, Kitty and Love in Taipei — both series
rooted in Asian settings and storytelling — Wolfington discussed how authentic representation and
cross-cultural soundtracks are redefining what audiences connect with. She also addressed how the
sync market is rebounding post-Covid and industrial strikes, with new opportunities for independent
artists and catalogues from non-traditional markets.


[Photo: Lindsay Wolfington Keynote – IMPF]


The conversation continued with “The Global A/V Music Business: Where We Are Today and What the Future Holds,” a roundtable featuring Michelle De Vries (Extra Mile Music), Alkis Argyri-
adis (Ubisoft), Nicky Bignell (BBC), Monique Göschl, and Goran Obad (Ohlogy) — moderated by Nelson Carpenter.


Across topics from AI to rights frameworks, the shared takeaway was clear: creativity thrives where
trust and transparency lead. Genuine collaboration between supervisors, publishers, and creators
will be key to the next phase of sync. De Vries summed it up perfectly — AI might offer options,
but supervisors will always be needed to bring authenticity and emotional intelligence to the
process.


Then came the Breakout Sync Sessions — fast-paced, face-to-face exchanges where supervisors and publishers from over 30 countries shared projects, pitched music, and discovered fresh connections. For anyone curious about emerging markets or cross-border collaboration, it was an unparalleled opportunity to expand networks and creative insight in real time.


The day closed with a forward-looking presentation of Europe in Synch, led by Nuno
Saraiva and Hannes Tschürtz. Supported by Creative Europe, the initiative seeks to strengthen the role of music supervision across the continent by fostering shared training, co-production residencies, and knowledge exchange between supervisors, filmmakers, and publishers. Their message resonated strongly: Europe has the creative depth and diversity to tell its own stories through music
— and initiatives like this can turn that potential into a tangible, connected ecosystem.

Leaving Palma, it was hard not to feel that sync today is less about placement and more about perspective — a space where culture, storytelling, and collaboration intersect. The conversations sparked here, under the umbrella of the IMPF Network Project, point toward a more international,
inclusive, and emotionally grounded future for our craft.

Authored by GMS member Paul-Loup Marquise for the UK & European Guild of Music Supervisors

Interview: MediaTracks on Pride In Sync and inclusive production music

In June, we spoke with MediaTracks, an MCPS production music library and the organisers of Pride in Sync, an evening celebrating diversity in sync on 8th July at All Is Joy Studios. Held in association with British Film Editors and the UK & EU Guild of Music Supervisors, the event will focus on supporting trans+ creatives.

In this interview, Maria Ángel (she/her) (Operations and Partnerships Manager) and Alex East (he/him) (Sync and Licensing Manager) discuss allyship and explain how diversifying their roster created better quality music. 

Pictured left: Maria Ángel (she/her), Operations and Partnerships Manager, MediaTracks; right: Alex East (he/him) Sync and Licensing Manager, MediaTracks.

Great to catch-up Maria and Alex! Tell us how MediaTracks came to champion underrepresented artists in production music.

Alex: MediaTracks has been around since 1998, so over 27 years now. Three years ago, after the original founder, Steve Johnson, passed away, it was acquired by father and son duo Andrew and William Saunders. They wanted to find a unique way for MediaTracks to meet market needs.

Maria: We realised that our roster was very limited in demographic. For example, the only female contribution was one song written by a composer and his wife! And it’s not just our library; only 2.8% of music producers are women. Production music is anonymous, and that’s restricted access for writers from different backgrounds. As a lesbian, female-identifying immigrant, that didn’t sit right with me. So the team agreed MediaTracks would put a face to a faceless industry.

From one composer and his wife, to women, diverse ethnic, LGBTQ+ artists and more, how did MediaTracks increase the representation in your roster? 

Maria: We’ve worked with many different partners to diversify our roster, from Carousel musicians with learning disabilities in Brighton to MOBO Unsung, a development program for young and upcoming black musicians organised by MOBO (Music of Black Origin). We host regular writing camps based on sync briefs and our ethos of representation. These events are designed to challenge stereotypes and ensure musicians aren’t boxed into genres based on their backgrounds. At our LGBTQIA+ camp, we had groups writing indie, pop, glam rock, orchestral, and even Celtic music! 

Alex: We see these events as long-term investments in top-tier musicians. Participants often leave having published their first ever production track, but also armed with the royalties knowledge they need to make consistent income from their writing. Female-identifying and non-binary composers tell us they felt refreshed to focus their energy on creating music, rather than the usual pressure they feel to prove themselves. The writers build a community they can take with them, and we continue to find new ways to nurture collaborations and bring them on our journey. 

What impact have you found from having a more diverse roster?

Alex: A diverse roster doesn’t just improve representation, it creates better quality music for the productions we service. Production music is faceless, so it’s hard for editors to find tracks representative of the stories they want to tell. But so many underrepresented groups have moulded the music scene for decades, and their cultural authenticity makes them a natural choice for certain audiovisual stories. With productions being sold globally, you can’t afford to use, for example, an outdated Western interpretation of Latin music, because if your series is released in Colombia, they’ll call you out! Briefs with specific demographic requirements are in the minority, and if a track’s more functional in the context of the series, we don’t always pitch it as ‘authentic’. But the client can hear the difference, so it wins the brief. 

Maria: Also, we’re being realistic. This is a fast-paced industry. Editors like to drag and drop music. We’re not expecting them to stop and Google the artist for every track. But as a music catalogue, we know working with competitive, diverse talent will increase the quality of our tracks and their likelihood of being placed. On the back of that, we’re ethically making the money flow to underrepresented artists. When a client has a similar ethos, that’s brilliant, but everyone we work with appreciates the quality of our roster and commercially competitive music. It may or may not always be relevant that a writer comes from an LGBTQIA+ background. But they might be the best at the job anyway!

Are there any writers you want to shout out? And have the writing camps led directly to sync success?

Maria: Ahhh… we have so many writers! But I’ll shout out two that emerged in our LGBTQIA+ camp. Noëlle Vanyi (she/her) is a singer-songwriter writing in French, English, and Spanish. She’s featured on our Epic Pop Trailers album. And Benjamin David (under the alias David Fraser) (they/them) is a multi-instrumentalist singer-songwriter featured on our Electric Soul album. Finally, I’ll shout out an artist featured on our Paralympics album. Andrés Godoy (he/him) is a Chilean guitarist with only one hand! His ‘Tatap’ technique needs to be heard to be believed. 

Alex: Music from our LGBTQIA+ camp artists will be featured in a big Netflix show this summer, so stay tuned. We’ve also done a Welsh writing camp; we found that the Welsh language is underrepresented in production music, even though Wales is an important place in the TV landscape. 24 hours after we published the album, it got synced on S4C’s Cardiff Ironman coverage. How’s that for instant demand!

Pictured: Pride in Sync 2024.

Let’s talk about Pride in Sync then. What do our members need to know?

Maria: Pride in Sync is about celebrating intersectional diversity. The concept was born when Col Goudie (they/them) (editor of Rogue One, Diversity Governor at BFE) and I connected over wanting to celebrate diversity in our fields, question the status quo, and encourage active allyship. So last year, we hosted over 80 people for an event focused on queerness in production music, with a mixture of LGBTQIA+ people and allies in the room. When an attendee asked Col, “How do you manage to stay creative when you’re so worried about keeping your real identity down?”, an ally friend of mine in the audience had a real lightbulb moment in his understanding of inclusion. And that’s exactly what we’re aiming for. Some people don’t think inclusion applies to them. The truth is, it applies to everyone. And if you give it a chance, you’ll realise that’s the case. 

Alex: This year’s event will bring music supervisors, editors, and artists together to stand with the trans community. Too often, trans people are pushed into ‘survival mode’ like “What can I wear?” or “What restrooms can I use?”. We want trans people to know they can have fun too, because if you’re not enjoying yourself, you can’t be creative, and you can’t monetise your talent. Also, the venue, All Is Joy, has a lot of history. It used to be the Warner Bros. dubbing studios, so The Beatles, Jimi Hendrix, and The Rolling Stones all recorded there. It allows us to have two rooms, one with the bar and networking, and another with the live performances from MOBO UnSung. Beyond the important conversations, it’s just an amazingly fun evening. 

Pride in Sync is “open to all, especially allies”. What would you say to someone unsure about coming, or with limited experience of allyship?

Maria: Pride In Sync is an event where everyone is welcome and encouraged to be themselves, including you. Often, people are afraid of saying the wrong words, but this is an open space where you can feel safe to ask questions. It just takes good intentions.

Alex: Speaking as an ally myself, I feel privileged to have learned so much from Maria and the communities we work with. Everyone’s been so lovely and I understand so much more than I did. I encourage everyone to come down, whoever you are, and just to listen. It’s an important part of our lives. Come to learn, meet people, and have fun. And there’ll be drinks tokens on the door!

Maria and Alex invite you to join them for Pride in Sync at All Is Joy Studios, Soho at 6pm on 8th July. RSVP here.

For diversity initiatives and partnerships, contact Maria Ángel, maria@mediatracks.co.uk. For sync enquiries, contact Alex East, alex@mediatracks.co.uk.

Written by David Simkins, he/him.

CASE STUDY: MUSIC IN HACKS SEASON 4

Music supervision by Matt Biffa, placements by onestop music

HBO’s Hacks has consistently used music with care. Its tone shifts from sharp comedy to quiet heartbreak in a beat, and the soundtrack helps hold that balance. In the final episodes of season 4, which aired earlier this month, the show leans on a rare kind of music: vintage, soulful, and mostly forgotten—until now. Under Matt Biffa’s music supervision, the show has always created an exciting and rich world of music: featuring legendary tracks from Queen, Gram Parsons, The B-52s, The Bob Seger System, Emma Louise, Labi Siffre and even a live performance of “I Love L.A.” by Randy Newman. When Matt discovered the funk-heavy hidden gems from licensing company onestop music, his constant pursuit in vintage funk once again led him down a path of inspiration.

Onestop music placed 13 tracks across the final three episodes of the show. These aren’t just background music, or perfect-fit-content like Spotify’s commissioned playlists. The tracks help build the emotional world of Hacks, a show about reinvention, legacy, and creative grit. The placements include funk, soul, and jazz songs from the 1960s to the 1980s—many of them originally released in tiny runs, now newly available thanks to deep catalogue work. Onestop music’s placements include Larry Saunders’ “Where Did Peace Go”,  “You Upset My Mind” by Little Tommy and “Tormented” by Jonny Holiday in the season finale, episode 10.

jkjkjThe Kingsmen Live, 1963. 

George Semper and the Soulful Roots

One of the key rights holders the company represents is George Semper, a funk pioneer from San Diego. Semper was a jazz organist, composer, and label owner whose fingerprints are all over West Coast soul and funk. His 1966 LP Makin’ Waves made him a Hammond B3 Hero. He later co-founded FUNKPROOF with Brenton Wood and Al McKay (of Earth, Wind & Fire). You can hear his influence in Hacks‘ retro cuts—warm, raw, and full of character.

Semper’s grooves echoed into 90s hip-hop, sampled by artists like Cypress Hill. Now, through the George Semper Music Archives and onestop music, these tracks are finding new life on screen.

Patti Williams

Another standout artist is Patti Williams. Her single “I’m Doing the Best That I Can” was originally released in 1970 on Forward Records and became a cult soul favorite. Produced by Semper, her voice recalls Aretha Franklin—standing out as a Female powerhouse in an era of Male dominated acts. She came up through Las Vegas stages and sang backing vocals for icons like Mary Love and Barbara Morrison. Her work fits Hacks perfectly: powerful, grounded and rare.

Making Vintage New Again

Supervisors know how hard it can be to clear vintage music. Rights can be messy and tapes missing. Most modern rights holders lack a high quality vintage catalogue. That’s what makes these placements special. These aren’t needle drops for nostalgia. They’re carefully cleared, restored, and curated. To help the story telling of these sync placements, onestop music created a limited vinyl pressing exclusively for music supervisors. It mirrors Hacks’ sound palette: soulful, witchy, and emotionally layered.

The music supervision in Hacks is a case study in how deep-catalog licensing can shape a show’s identity. These songs give the series depth without stealing focus. They also introduce audiences to voices they’ve never heard before—and maybe wouldn’t hear otherwise.

We don’t often get to celebrate this kind of detailed work in the current music climate of streaming algorithms and AI-generated music. But when a catalogue lands just right, like it does in Hacks, it’s worth pausing on.

 George Semper (right) & Jimmy Smith (left) performing live at Market St. East, 1965


To celebrate this rich musical collaboration in “Hacks”, onestop music — in partnership with the George Semper Music Archives — is releasing a limited-edition vinyl EP, which will be available to GMS members for free later this year.

Matt’s supervision on the show was also submitted for the Primetime Emmys Outstanding Music Supervision category for Season 4’s fourth episode “I Love L.A.” The live performance coordination was handled by the talented Ciara Elwis who has worked with Matt across a variety of projects, including their Emmy-winning music supervision for “I May Destroy You.”

GMS Team

GMS Members Present at AIM Sync

On Tuesday, April 8th 2025, GMS members joined the Association of Independent Music for AIM Sync, the UK’s leading global online sync licensing conference. Various members of the GMS Board featured on panels, including a strong showing from our D&I Committee.

An opening ‘State of the Nation’ panel moderated by Pam Lewis-Rudden (Plutonic Group Syncs) alluded to nascent sync DSP platforms designed to ease the music licensing process for commercial music. Independent supervisor Jumi Akinfenwa sees these platforms’ potential to add “another string to the bow of music searches”, but cautioned anyone against putting all their eggs in one basket. 

Later, a panel moderated by Zoë Ellen Bryant (Carbon Logic) examined misunderstandings that music supervisors, sync agents and creative licensing reps have to overcome. As part of the discussion, the importance of constantly re-educating producers was touched on as an important step towards upholding creativity as a music supervisor. Kadambari Chauhan (Redfive Creative) emphasised the importance of collaboration in the role:

“It’s not just about your creativity, it’s about the creativity of the people that you brief out to (record labels, publishers, sync agents etc.) because sync is a collaborative process. Look at the creative process as mining collective minds rather than putting your own personal stamp on a show. You’re one part of different moving pieces that contribute towards a bigger picture. Your passion should be not only for the job, but for the industry as well – and how everybody brings something together. Care about that and not just your particular job description – would be my top piece of advice.”

The day ended with a keynote from Matt Biffa (Air-Edel), who went into interesting depth and entertaining details about the creative process behind some of his favourite projects. This included stories of working with Jarvis Cocker for Harry Potter and the Goblet of Fire, building character playlists for One Day, and phoning rightsholders to forewarn them about the graphic briefs he sent through for Sex Education. Matt concluded by reflecting that “success for me was always just looking forward to work on a Monday.”

Congratulations to Frederic Schindler (Too Young Ltd. & Catalog) for winning AIM Music Supervisor of the Year and to Just Isn’t Music & Ninja Tune for achieving Independent Sync of the Year. Special recognition was also given to Anjunabeats. GMS member Leo Niemi also gave a compelling market overview on Finland, discussing the different practices in the Finnish sync industry, production music rules, AV and publishing.

Thank you to the Association of Independent Music for inviting us to partner with them on this event and to all GMS members who attended and took part.

Written by David Simkins (he/him), GMS D&I Committee

Pictured: Jumi Akinfenwa and Kadambari Chauhan

GMS 2025 Board Nominations: Now Open

Nominations for our upcoming Board elections are open!


We are excited to announce that the UK & European Guild of Music Supervisors (GMS) will be electing a new Board in 2025!

Nominations are now officially open, and this is your opportunity to step into a leadership role within our growing community.

📈 A Year of Growth
The past year has been a busy year for GMS in the UK and Europe with Masterclasses, social events and a new initiative for European expansion and outreach. We’ve welcomed new members, launched new member resources, partnerships and discounts, brought our community together through educational programming both online and in-person.

Now, we’re expanding our leadership—welcoming new members to both the Senior Board and Full Working Board—and we want you to be part of it.

🗓️ Key Election Dates
April 15: Nominations open

May 11: Final day to submit nominations (deadline at 11.59 PM)

May 19: Voting begins

May 30: Voting closes

By June 1: New Board Members announced

🧭 How the Board Works

Senior Board

8 Seats, including President & Vice President
Provides strategic leadership on all Guild matters (Constitution, Membership, Finance, Partnerships)

Full Working Board

Supports the Guild’s grassroots efforts and subcommittees, as well as helping with member engagement and educational programming.

Members attend quarterly meetings and contribute to GMS initiatives between sessions

Composition of the Full Working Board

✅ Eligibility

In order to become a Senior Board Member, the applicants have to be previous Full Working Board members.

All GMS music supervisor members (Full, Associate, and Provisional) are eligible to vote in the 2025 elections

How to self- nominate for the Full Working Board or Senior Board (including Officer roles)

To be considered for a position, members must:

Submit a nomination form with a brief statement of interest and commitment to GMS work

Whether you’re passionate about community, education, industry advocacy, or simply want to give back to the GMS network, we want to hear from you.

🗳️ Nominations close on May 11
📬 Voting instructions will be sent via email to all eligible members
🖥️ Voting will be conducted via a secure third-party platform

➡️ Submit your nomination here.