I'm talking about the immensely talented Ashlinn Nash.
Ashlinn has provided a complete breakdown of her extraordinary career with this superb and epic interview which I can only thank her for.
Sit back for a great interview and see the many great things that Ashlinn has achieved with her brilliant career.
Hi Ashlinn. Thanks for doing this interview. How are things with you today.
Hello, I am really well thank you, always busy but that is how I like it. Thanks for taking the time to talk to me today.
You’ve had a long, varied and quite interesting career within the wider Heavy Metal scene. I’ve been a fan of your work for quite a long time. You’ve been a writer, producer, photographer, promoter, musician and PR Rep. How did you get involved with the Heavy Metal scene.
Thank you, that’s very kind of you to say.
Honestly, it’s all my parents’ fault. Always blame the parents! Music was everywhere growing up and that love just kept expanding. It was the thing that got me through school and early life. I was the kid devouring music magazines, wanting to know everything about bands, reading CD booklets, studying the artwork and lyrics. I’ve always been a complete music nerd. I knew I wanted to do something with music, I just didn’t know what yet.
My first gig was in a rugby club in Eltham with Stump, Oblongada, Silas and Snakebite. It completely blew my mind. The noise, the sweat, beer flying through the air, everyone lost in the moment. I remember thinking, this is it. This is the hum of life. That collective experience of being alive in a room together, and I knew I wanted to be part of it somehow.
Photography really started through Metal to the Masses where I began combining my love of music and visual storytelling. I photographed hundreds of bands over the years like Bleeding Oath, Zocalo, Callous, Bloodshed, Kremated, Static Plan, Stormborn, Forged in Black, Jukebox Monkey, Orphan Gears and many more.
Through Rock Matrix, who ran the South East Metal to the Masses, I started reviewing shows and interviewing bands which led to writing for Metal Rules, Devolution and The Independent Voice. Around that time I was lucky enough to learn from the late, great Malcolm Dome. Rest in power. He was a huge mentor and taught me how to properly research, interview and conduct myself professionally. That guidance was invaluable. Through that work I had the chance to interview artists like Paradise Lost, Tarja Turunen, Frost from Satyricon and Devin Townsend.
I later stepped away from writing for a while to focus on making and producing music myself, mostly in pop and hip hop, which was a lot of fun and a different side of the industry.
Then life shifted again. I became a teacher and later a parent, and that urge to get back into the photo pit came back. I missed the noise, the rooms full of people and capturing those moments. So I picked up the camera again and it’s been a brilliant journey across different corners of heavy music, from hardcore through to stoner doom, which is where a big love of mine sits now.
The management side happened quite naturally. I was standing with my pals in Famyne waiting for Pantera to start and the conversation went “we need a manager”. I said “I can do that.” That was about a year ago and now here we are. Since then more bands have wanted to work together which is incredible in itself, being trusted by artists and working towards that shared goal of music.
I also saw an advert for a booking agent role with DC Sound Attack. I’d heard great things about them and thought, why not? What’s stopping me? Oh… me. So I took the leap and I absolutely love it. It makes me very happy working with some brilliant artists like Space Pistol, NOST and Cell Games.
At the heart of it all though, it’s always been the same thing: just a lifelong love of music.
What was your first “true” exposure for you in the scene. Was it writing for various sites and magazines. Or taking photographs for various events.
For me it’s actually quite hard to pinpoint one single “first” exposure, because I was doing a lot of different creative work at the same time while figuring out where I fit in the scene.
In the early days I was shooting a wide range of photography. That included nightclub photography, weddings, corporate events, film festivals, and building portfolios for models. I was essentially learning the craft by saying yes to everything and gaining experience wherever I could. Photography was really my first doorway into creative work and it helped me build confidence behind the camera and around people.
But when it came specifically to the music scene, photographing bands and live shows was the moment it all started to feel like home. I had been a huge music fan growing up, obsessively reading music magazines, studying album artwork, and learning everything I could about bands and the culture around them. So bringing photography into that world felt like the natural meeting point of two passions.
At the same time, writing started to develop alongside it. I began contributing to various sites and magazines, and over time that side grew into music journalism and interviews. I’ve since written for a number of outlets and currently cover gigs for MetalTalk, which has been a brilliant platform for continuing to explore the live music scene.
So in truth, my first real exposure wasn’t just one thing. It was the combination of photographing bands, being present in venues, talking to artists, and gradually moving into writing and journalism. All of those pieces grew together and helped shape my place in the music community.
What was your working background before entering the working world of HEAVY METAL.
I spent several years working across schools and colleges, including roles with an SEN specialism, supporting students and covering a wide range of subjects. It was a very people focused environment, and my love of learning always poked through in those roles.
Alongside education, I was also building experience in photography, working across events such as nightclubs, weddings, corporate functions, film festivals, and portfolio work for models. That creative work eventually began to overlap with my lifelong passion for music, which naturally led me into photographing bands, writing about music, and stepping into the heavy metal scene professionally.
Did you face a struggle making a name for yourself when first starting out within the scene with both your writing and following other creative opportunities?
Yes, of course there were challenges when starting out. Building a name in the scene takes time, and like any industry you have to earn trust and prove your reliability.
There have definitely been moments where I’ve been questioned, and I’ve experienced both the harder and kinder sides of the industry while learning how it all works. Those experiences were important though, because they helped me understand the professional expectations of the scene.
I’ve always believed that your reputation is everything, so I’ve tried to approach my work with transparency, clear communication, and professionalism when dealing with bands, clients, and publications.
Luckily, particularly with photography, word of mouth began to grow organically. One band would be happy with the work and recommend me to another, and then another. Over time those small recommendations built a network of trust, which helped open the door to more opportunities within the scene.
What did you think was your first real “breakthrough” and “breakout” moment when people started to take notice of your work?
I think I first felt a real shift around 2012, when I had the opportunity to interview Devin Townsend. That moment felt like a genuine turning point for me.
Up until then I had been steadily building experience through photography, writing, and covering shows, but that interview felt like stepping into a new level of the industry. It was one of those moments where you realise you are now speaking with artists who have had a huge influence on the genre and on so many fans.
What made it especially memorable was that the conversation wasn’t just about music promotion. We were able to talk about life, creativity, and the deeper ideas behind the work, which made the experience incredibly meaningful.
I would say that was a pinnacle moment at the time, because he was the biggest artist I had interviewed then. More recently, interviewing Gavin Rossdale from Bush felt like another milestone, as he is a far more household name than many of the other artists I’ve spoken with over the years. Moments like that really make you pause and realise how far the journey has come.
You’ve worked with a lot of great musical publications over the last sixteen years. What are your favourite publications that you’ve worked for over the years?
I’ve been very fortunate over the years to work with a number of great publications, and I’m genuinely grateful to all of them because each one has played a role in helping me grow as a writer and journalist.
If I had to choose, I would say MetalTalk has probably been my favourite to work with. The team are incredibly supportive, passionate about the music, and it has always felt like a very genuine and welcoming environment to contribute to.
My love for the scene really began back in 2005, when I first saw Silas play live. That was the moment the gig addiction took hold. From there came years of shows, photography through Metal 2 the Masses, countless venues, muddy festival fields, and many very loud rooms.
Along the way I met incredible people, including Matthew Garnham through The Furious Horde, and those connections gradually grew into lasting friendships within the scene. Looking back almost twenty years later, it’s quite surreal to now be managing Famyne, meeting people like Zebulon at Bloodstock Open Air, and even travelling to Norway with friends from bands like Löwdown.
Moments like that really remind me how special the metal community can be.
Do you have a set of rules and ideals that you stick to when you decide to work for, work with and collaborate with?
Yes, I think over time you naturally develop a bit of a compass for who you want to work with. For me it’s quite simple. I try to work with good people who genuinely care about the music and treat others with respect.
Research is important too. It’s always good to understand who you’re working with and what their background is. But at the same time, I think it’s important to give people the benefit of the doubt and approach things with an open mind. Instinct plays a role as well. Often you can get a sense quite quickly of whether something feels like the right fit.
The music world can be quite intense at times, so I’ve always tried to keep things grounded and straightforward. Be honest, communicate clearly, and approach things with kindness. If people are enthusiastic, respectful, and all pulling in the same direction, collaborations tend to grow naturally from there.
Looking back on your career, are there any decisions that you’ve later regretted which you could change?
“Do not dwell in the past, do not dream of the future, concentrate the mind on the present moment.” - Buddha
I’ve also got one more band I’ve been working with quietly behind the scenes for a little while now, which I’ll be announcing properly over the next couple of months, so I’m really excited about that. It’s been lovely getting to build things together a bit more privately first and just let it grow naturally before sharing it more widely.
You’re also involved in creating music under the name of Cybewaste. Which is an Electronica/Trip-Hop project. How did this project came about and do you have any other musical projects that folks can check out.
Cyberwaste came about quite naturally for me. I’ve always loved electronic music alongside heavier stuff, and it became a space where I could explore that side a bit more freely.
I actually started making electronic music quite young under a project called Codex, just teaching myself through things like Fruity Loops and GarageBand and putting out a lot of DIY releases. After releasing a number of albums and EPs under that name, I wanted to push myself further and take things a bit more seriously, both in terms of production and sound. That’s really where Cyberwaste came in.
The name itself actually came from a Fear Factory song, and like most things, it just stuck. Naming a project is always harder than it sounds, so when something feels right, you just go with it.
Cyberwaste sits somewhere between trip hop, dark electronic pop and more experimental electronica. It pulls from a really wide range of influences, everything from Nine Inch Nails, Massive Attack and Portishead through to Aphex Twin, UNKLE, Grimes and even bits of industrial and film soundtracks. I’ve always liked blending genres and seeing what happens, so it’s quite a fluid project in that sense.
It’s always been quite personal as well. A lot of it started with me just experimenting on my own, building soundscapes and ideas, and then slowly shaping that into something more complete. Over time it’s grown into more than just music too, with live shows bringing in visuals and projection to create a more immersive experience.
Alongside Cyberwaste, I’ve had a few other projects over the years. DJ Cyberash was more focused on DJ sets and remixes, and Rose Astronaut came from my Masters, combining sound with photography and film to build more atmospheric, sci fi leaning pieces. That one’s a bit quieter now while I focus on Cyberwaste, but it was a really important part of my creative journey.
At the moment, Cyberwaste is my main musical outlet, and I think what I like most about it is the freedom. It can be quite hypnotic and atmospheric one moment, then shift into something heavier or more beat driven the next. It’s just about creating something immersive and honest, and seeing where it takes me.
You’ve been involved with a ton of different artistic areas which I’ve probably haven’t touched upon which I can only apologize for especially after reading this great article. - https://www.metalwomen.com/professionals/ashlinn-nash/ - What is your favourite area of work that you’re currently involved with?
That’s really kind of you to say, I’ve ended up trying a lot of different creative things over the years, but music has always been the one that stuck. It’s the place that’s always felt the most natural to me, whether I’m photographing it, writing about it, or working with bands behind the scenes.
There’s just something about live music that feels real in a way nothing else does. It’s loud, a bit unpredictable, sometimes chaotic, but completely honest. Trying to capture that, either through a photo or in words, still gives me the same feeling it did when I first started shooting bands as a teenager.
I think exploring different areas has actually helped shape how I work now. I’ve picked up bits from everything. The storytelling from journalism, the eye from photography, and the people and organisation side from management. It all comes together in the way I work with bands today.
So if I had to choose, it’s being part of the music scene in a proper, hands-on way. Not just watching it happen, but contributing to it, supporting it, and helping it grow. That’s the part that feels like home to me, and I don’t think that’ll ever change.
What have been your personal highlights and setbacks during your time promoting the music you love?
There’s definitely been a mix of both when it comes to promoting the music I love.
The highlights are always the people and those moments where everything just seems to come together in a really natural way, whether that’s seeing bands you’ve worked with step onto bigger stages, watching something you’ve helped build actually land, or just being at a show where you can feel that energy in the room. Going to Bloodstock with Famyne was a huge highlight for me, just being there, seeing it all happen, and knowing the journey behind it made it really special, and interviewing artists I grew up listening to is another one that still feels a bit surreal when I think about it.
More than anything though, it’s the relationships that mean the most to me, being trusted by bands, being part of their journey, and watching things grow over time is something I really value.
On the other side, there are definitely challenges, and the industry can be quite unpredictable at times, things fall through, plans change, and sometimes you can put a lot of time and energy into something that doesn’t quite work out the way you hoped. One of the hardest moments is booking a gig, getting everything confirmed and locked in, and then the venue closes, which is always a tough one to take.
It’s also difficult seeing venues and print magazines disappear more broadly, especially when they’ve meant so much to the scene and to people’s lives, and Covid was another big moment where everything just stopped overnight, which really showed how fragile things can be.
The internet is a bit of both as well, because while it’s amazing for getting music out there and connecting people, things move so quickly that it can be easy for music to get lost just as fast.
But overall, you just learn to adapt, stay grounded, and keep showing up for the music you care about, because that’s what matters in the end.
If you could give any words of wisdom to your younger self or someone wanting to start a promotions company or a similar career to what you’ve achieved , what would it be?
I think the main thing I’d say is just start, even if you don’t feel ready, because the truth is you probably never will feel completely ready, and a lot of this kind of work is learning as you go, figuring things out in real time, and building your confidence through actually doing it rather than waiting for the perfect moment to begin.
I’d also say be kind, both to other people and to yourself, because the music world is so built on relationships and trust, and how you treat people really does stay with them, but at the same time it’s important not to burn yourself out trying to do everything for everyone, because that’s something I’ve definitely learned the hard way, so setting boundaries and knowing where to put your energy really matters.
Stay curious as well, go to shows, talk to people, ask questions, try things out, and don’t worry too much about having everything mapped out, because you don’t need to, and a lot of the best opportunities come from just being present, being involved, and consistently showing up.
And I think the biggest thing is to work with people you genuinely believe in, because it makes everything feel more meaningful, and it helps keep you grounded when things get tough, which they will at times.
There isn’t really one set path into this kind of work, everyone finds their own way through it, so it’s about trusting that process, sticking with it, and trying to enjoy it along the way as much as you can.
What bands are impressing you the most today. Any great bands that folks should look out for?
That’s always a tricky one because there’s just so much good music around at the moment, but there are definitely a few bands and artists that have really stuck with me lately.
Alongside all the brilliant ones I’ve already mentioned like Löwdown, Desert Storm, Wall, Godless Suns, Cage Fight, Clobber and Twin Mill, who are all bringing something really fresh and exciting, there are a few others I’ve been going back to quite a bit. I discovered Torus at Desertfest last year and they really stayed with me, there’s just something about their sound and presence that pulls you in straight away. Slump have that raw, slightly chaotic energy that just works, Slabdragger bring that proper heavy, sludgy weight especially live, and Alunah are one of those bands who just keep delivering, with that mix of doom and melody that feels really timeless.
Jukebox Monkey are another I’d definitely recommend, loads of personality and a really clear sense of who they are, and Skelta feel like they’re building something exciting as well.
On a completely different side of things, Benjamin Cook is someone I’d always mention too, especially if you want something more calm and emotive, his music is genuinely beautiful and has a completely different kind of impact.
And honestly, pretty much all of the bands on the DC Sound Attack roster are worth checking out, Space Pistol, Cell Games and NOST are all doing their own thing but with the same kind of drive behind them, which is always great to see.
More than anything, I just think it’s really important to support the local scene, because that’s where all of this starts and where so much of the passion sits.
Hi Ashlinn. Thanks for doing this interview. How are things with you today.
Hello, I am really well thank you, always busy but that is how I like it. Thanks for taking the time to talk to me today.
You’ve had a long, varied and quite interesting career within the wider Heavy Metal scene. I’ve been a fan of your work for quite a long time. You’ve been a writer, producer, photographer, promoter, musician and PR Rep. How did you get involved with the Heavy Metal scene.
Thank you, that’s very kind of you to say.
Honestly, it’s all my parents’ fault. Always blame the parents! Music was everywhere growing up and that love just kept expanding. It was the thing that got me through school and early life. I was the kid devouring music magazines, wanting to know everything about bands, reading CD booklets, studying the artwork and lyrics. I’ve always been a complete music nerd. I knew I wanted to do something with music, I just didn’t know what yet.
My first gig was in a rugby club in Eltham with Stump, Oblongada, Silas and Snakebite. It completely blew my mind. The noise, the sweat, beer flying through the air, everyone lost in the moment. I remember thinking, this is it. This is the hum of life. That collective experience of being alive in a room together, and I knew I wanted to be part of it somehow.
Photography really started through Metal to the Masses where I began combining my love of music and visual storytelling. I photographed hundreds of bands over the years like Bleeding Oath, Zocalo, Callous, Bloodshed, Kremated, Static Plan, Stormborn, Forged in Black, Jukebox Monkey, Orphan Gears and many more.
Through Rock Matrix, who ran the South East Metal to the Masses, I started reviewing shows and interviewing bands which led to writing for Metal Rules, Devolution and The Independent Voice. Around that time I was lucky enough to learn from the late, great Malcolm Dome. Rest in power. He was a huge mentor and taught me how to properly research, interview and conduct myself professionally. That guidance was invaluable. Through that work I had the chance to interview artists like Paradise Lost, Tarja Turunen, Frost from Satyricon and Devin Townsend.
I later stepped away from writing for a while to focus on making and producing music myself, mostly in pop and hip hop, which was a lot of fun and a different side of the industry.
Then life shifted again. I became a teacher and later a parent, and that urge to get back into the photo pit came back. I missed the noise, the rooms full of people and capturing those moments. So I picked up the camera again and it’s been a brilliant journey across different corners of heavy music, from hardcore through to stoner doom, which is where a big love of mine sits now.
The management side happened quite naturally. I was standing with my pals in Famyne waiting for Pantera to start and the conversation went “we need a manager”. I said “I can do that.” That was about a year ago and now here we are. Since then more bands have wanted to work together which is incredible in itself, being trusted by artists and working towards that shared goal of music.
I also saw an advert for a booking agent role with DC Sound Attack. I’d heard great things about them and thought, why not? What’s stopping me? Oh… me. So I took the leap and I absolutely love it. It makes me very happy working with some brilliant artists like Space Pistol, NOST and Cell Games.
At the heart of it all though, it’s always been the same thing: just a lifelong love of music.
What was your first “true” exposure for you in the scene. Was it writing for various sites and magazines. Or taking photographs for various events.
For me it’s actually quite hard to pinpoint one single “first” exposure, because I was doing a lot of different creative work at the same time while figuring out where I fit in the scene.
In the early days I was shooting a wide range of photography. That included nightclub photography, weddings, corporate events, film festivals, and building portfolios for models. I was essentially learning the craft by saying yes to everything and gaining experience wherever I could. Photography was really my first doorway into creative work and it helped me build confidence behind the camera and around people.
But when it came specifically to the music scene, photographing bands and live shows was the moment it all started to feel like home. I had been a huge music fan growing up, obsessively reading music magazines, studying album artwork, and learning everything I could about bands and the culture around them. So bringing photography into that world felt like the natural meeting point of two passions.
At the same time, writing started to develop alongside it. I began contributing to various sites and magazines, and over time that side grew into music journalism and interviews. I’ve since written for a number of outlets and currently cover gigs for MetalTalk, which has been a brilliant platform for continuing to explore the live music scene.
So in truth, my first real exposure wasn’t just one thing. It was the combination of photographing bands, being present in venues, talking to artists, and gradually moving into writing and journalism. All of those pieces grew together and helped shape my place in the music community.
What was your working background before entering the working world of HEAVY METAL.
I spent several years working across schools and colleges, including roles with an SEN specialism, supporting students and covering a wide range of subjects. It was a very people focused environment, and my love of learning always poked through in those roles.
Alongside education, I was also building experience in photography, working across events such as nightclubs, weddings, corporate functions, film festivals, and portfolio work for models. That creative work eventually began to overlap with my lifelong passion for music, which naturally led me into photographing bands, writing about music, and stepping into the heavy metal scene professionally.
Did you face a struggle making a name for yourself when first starting out within the scene with both your writing and following other creative opportunities?
Yes, of course there were challenges when starting out. Building a name in the scene takes time, and like any industry you have to earn trust and prove your reliability.
There have definitely been moments where I’ve been questioned, and I’ve experienced both the harder and kinder sides of the industry while learning how it all works. Those experiences were important though, because they helped me understand the professional expectations of the scene.
I’ve always believed that your reputation is everything, so I’ve tried to approach my work with transparency, clear communication, and professionalism when dealing with bands, clients, and publications.
Luckily, particularly with photography, word of mouth began to grow organically. One band would be happy with the work and recommend me to another, and then another. Over time those small recommendations built a network of trust, which helped open the door to more opportunities within the scene.
What did you think was your first real “breakthrough” and “breakout” moment when people started to take notice of your work?
I think I first felt a real shift around 2012, when I had the opportunity to interview Devin Townsend. That moment felt like a genuine turning point for me.
Up until then I had been steadily building experience through photography, writing, and covering shows, but that interview felt like stepping into a new level of the industry. It was one of those moments where you realise you are now speaking with artists who have had a huge influence on the genre and on so many fans.
What made it especially memorable was that the conversation wasn’t just about music promotion. We were able to talk about life, creativity, and the deeper ideas behind the work, which made the experience incredibly meaningful.
I would say that was a pinnacle moment at the time, because he was the biggest artist I had interviewed then. More recently, interviewing Gavin Rossdale from Bush felt like another milestone, as he is a far more household name than many of the other artists I’ve spoken with over the years. Moments like that really make you pause and realise how far the journey has come.
You’ve worked with a lot of great musical publications over the last sixteen years. What are your favourite publications that you’ve worked for over the years?
I’ve been very fortunate over the years to work with a number of great publications, and I’m genuinely grateful to all of them because each one has played a role in helping me grow as a writer and journalist.
If I had to choose, I would say MetalTalk has probably been my favourite to work with. The team are incredibly supportive, passionate about the music, and it has always felt like a very genuine and welcoming environment to contribute to.
That said, I’m very thankful to every publication I’ve worked with over the years. Each one has given me opportunities and trusted me to help tell the stories of bands and the wider metal community, which is something I always feel very honoured to do.
Who have been your favourite artists that you’ve interviewed with and worked with over the years?
I’ve been very fortunate to interview a wide range of artists over the years, and many of those conversations have been incredibly memorable. Some highlights include speaking with Devin Townsend, Dez Fafara from DevilDriver and Coal Chamber, and the legendary Michael Schenker of UFO. I’ve also really enjoyed interviewing Tarja Turunen from Nightwish, as well as artists from Gojira, Amorphis, Karnivool, Alestorm, P.O.D., Anathema, Evile, and Satyricon, among others.
That said, while interviewing artists has been a huge privilege, some of the most meaningful experiences have come from working alongside friends in bands. Collaborating with groups like Froglord, Famyne, and Löwdown has been genuinely wonderful. If someone ever tells you to go and make friends with people in bands, listen to them. Truly.
I’ve been very fortunate to interview a wide range of artists over the years, and many of those conversations have been incredibly memorable. Some highlights include speaking with Devin Townsend, Dez Fafara from DevilDriver and Coal Chamber, and the legendary Michael Schenker of UFO. I’ve also really enjoyed interviewing Tarja Turunen from Nightwish, as well as artists from Gojira, Amorphis, Karnivool, Alestorm, P.O.D., Anathema, Evile, and Satyricon, among others.
That said, while interviewing artists has been a huge privilege, some of the most meaningful experiences have come from working alongside friends in bands. Collaborating with groups like Froglord, Famyne, and Löwdown has been genuinely wonderful. If someone ever tells you to go and make friends with people in bands, listen to them. Truly.
My love for the scene really began back in 2005, when I first saw Silas play live. That was the moment the gig addiction took hold. From there came years of shows, photography through Metal 2 the Masses, countless venues, muddy festival fields, and many very loud rooms.
Along the way I met incredible people, including Matthew Garnham through The Furious Horde, and those connections gradually grew into lasting friendships within the scene. Looking back almost twenty years later, it’s quite surreal to now be managing Famyne, meeting people like Zebulon at Bloodstock Open Air, and even travelling to Norway with friends from bands like Löwdown.
Moments like that really remind me how special the metal community can be.
Do you have a set of rules and ideals that you stick to when you decide to work for, work with and collaborate with?
Yes, I think over time you naturally develop a bit of a compass for who you want to work with. For me it’s quite simple. I try to work with good people who genuinely care about the music and treat others with respect.
Research is important too. It’s always good to understand who you’re working with and what their background is. But at the same time, I think it’s important to give people the benefit of the doubt and approach things with an open mind. Instinct plays a role as well. Often you can get a sense quite quickly of whether something feels like the right fit.
The music world can be quite intense at times, so I’ve always tried to keep things grounded and straightforward. Be honest, communicate clearly, and approach things with kindness. If people are enthusiastic, respectful, and all pulling in the same direction, collaborations tend to grow naturally from there.
Looking back on your career, are there any decisions that you’ve later regretted which you could change?
“Do not dwell in the past, do not dream of the future, concentrate the mind on the present moment.” - Buddha
Looking back, I try not to focus too much on regrets. Every step, even the difficult ones, has been part of the learning process that shaped where I am today. Working across music, photography, journalism, and creative projects has meant taking risks, trying things, and sometimes discovering what works by also learning what doesn’t.
If anything, the biggest lesson has been about balance and focus. I’ve always been someone with a lot of creative ideas and projects, whether that was early music work with Codex, later developing Cyberwaste, running publications, photography, journalism, or other creative ventures. At times that meant I spread myself across many different opportunities at once. In hindsight, perhaps I would have paced some things differently, but those experiences also taught me a huge amount about the industry and about myself.
Ultimately, I see those moments less as regrets and more as valuable experience. They helped me understand how the music world works, how to collaborate with people, and how important reputation, communication, and resilience are in a creative career. In many ways, the winding path has been part of the journey, and I’m grateful for the lessons it’s given me.
You’ve started working with the amazing Doom Metal band FAMYNE behind the scenes. How did that come about?
Working with Famyne actually came about very naturally. I’ve known the twins from the band since the Silas days, back when I first started going to shows and getting involved in the local scene with Silas.
Years later, I was standing with the guys from Famyne waiting for Pantera to start, and the conversation came up that they needed a manager. I said, “I can do that,” and it grew from there.
It’s been a really special journey, especially working with friends you’ve known for so long and helping build something together through music. Seeing them step onto the main stage at Bloodstock Open Air last year was an incredible moment, and then travelling out to Norway together this year has been another amazing experience. Watching the band grow and being part of that journey with them has been something I’m really proud of.
Do you work with other bands in a similar role?
Yes, I do, and it’s something that’s just grown quite naturally over time.
Famyne was a big step into that side of things, but once I started doing more behind the scenes, other opportunities kind of followed. I also manage Froglord, and I help out with other bands in different ways depending on what they need.
Working with DC Sound Attack has been a really nice part of that. It’s a small team, but there’s a lot of care in how they work. It was set up by Daniel Carter, who’s been around rock and metal for years, and it’s very much about supporting artists in a genuine, no-nonsense way.
Through DC Sound Attack I’ve also had the chance to work with bands like Space Pistol, Cell Games, and NOST, who are all brilliant in their own ways, and there’s another one to be announced soon which I’m really excited about. It’s been genuinely lovely just being able to support bands like that and play a small part in what they’re building.
Because I’ve done a bit of everything, photography, writing, socials, I can slot into those spaces quite naturally and just help where I’m needed.
At the end of the day, it always comes back to working with people I believe in and being part of something that’s building in the right way.
You’ve started representing the brilliant Doom/Stoner Metal band FROGLORD. How did that come about.
I’d been aware of Froglord for a while through the scene, and it really just started with a few conversations. The more we spoke, the more it clicked. They are a fantastic band with such a strong identity and a brilliant sound, and it just felt like we were on the same page with where things could go.
So with that it all felt very natural, so stepping in to represent them just grew from there.
I always feel really grateful to be trusted by bands in that way, and with Froglord it’s been especially nice as I was already a fan. Getting to see a bit more behind the scenes and now properly being part of the swamp has been great fun so far.
They’ve already got great momentum behind them, so it’s just been exciting to come on board and be part of what they’re building.
Do you have any other great bands that you will be working with in the future?
If anything, the biggest lesson has been about balance and focus. I’ve always been someone with a lot of creative ideas and projects, whether that was early music work with Codex, later developing Cyberwaste, running publications, photography, journalism, or other creative ventures. At times that meant I spread myself across many different opportunities at once. In hindsight, perhaps I would have paced some things differently, but those experiences also taught me a huge amount about the industry and about myself.
Ultimately, I see those moments less as regrets and more as valuable experience. They helped me understand how the music world works, how to collaborate with people, and how important reputation, communication, and resilience are in a creative career. In many ways, the winding path has been part of the journey, and I’m grateful for the lessons it’s given me.
You’ve started working with the amazing Doom Metal band FAMYNE behind the scenes. How did that come about?
Working with Famyne actually came about very naturally. I’ve known the twins from the band since the Silas days, back when I first started going to shows and getting involved in the local scene with Silas.
Years later, I was standing with the guys from Famyne waiting for Pantera to start, and the conversation came up that they needed a manager. I said, “I can do that,” and it grew from there.
It’s been a really special journey, especially working with friends you’ve known for so long and helping build something together through music. Seeing them step onto the main stage at Bloodstock Open Air last year was an incredible moment, and then travelling out to Norway together this year has been another amazing experience. Watching the band grow and being part of that journey with them has been something I’m really proud of.
Do you work with other bands in a similar role?
Yes, I do, and it’s something that’s just grown quite naturally over time.
Famyne was a big step into that side of things, but once I started doing more behind the scenes, other opportunities kind of followed. I also manage Froglord, and I help out with other bands in different ways depending on what they need.
Working with DC Sound Attack has been a really nice part of that. It’s a small team, but there’s a lot of care in how they work. It was set up by Daniel Carter, who’s been around rock and metal for years, and it’s very much about supporting artists in a genuine, no-nonsense way.
Through DC Sound Attack I’ve also had the chance to work with bands like Space Pistol, Cell Games, and NOST, who are all brilliant in their own ways, and there’s another one to be announced soon which I’m really excited about. It’s been genuinely lovely just being able to support bands like that and play a small part in what they’re building.
Because I’ve done a bit of everything, photography, writing, socials, I can slot into those spaces quite naturally and just help where I’m needed.
At the end of the day, it always comes back to working with people I believe in and being part of something that’s building in the right way.
You’ve started representing the brilliant Doom/Stoner Metal band FROGLORD. How did that come about.
I’d been aware of Froglord for a while through the scene, and it really just started with a few conversations. The more we spoke, the more it clicked. They are a fantastic band with such a strong identity and a brilliant sound, and it just felt like we were on the same page with where things could go.
So with that it all felt very natural, so stepping in to represent them just grew from there.
I always feel really grateful to be trusted by bands in that way, and with Froglord it’s been especially nice as I was already a fan. Getting to see a bit more behind the scenes and now properly being part of the swamp has been great fun so far.
They’ve already got great momentum behind them, so it’s just been exciting to come on board and be part of what they’re building.
Do you have any other great bands that you will be working with in the future?
I’ve also got one more band I’ve been working with quietly behind the scenes for a little while now, which I’ll be announcing properly over the next couple of months, so I’m really excited about that. It’s been lovely getting to build things together a bit more privately first and just let it grow naturally before sharing it more widely.
You’re also involved in creating music under the name of Cybewaste. Which is an Electronica/Trip-Hop project. How did this project came about and do you have any other musical projects that folks can check out.
Cyberwaste came about quite naturally for me. I’ve always loved electronic music alongside heavier stuff, and it became a space where I could explore that side a bit more freely.
I actually started making electronic music quite young under a project called Codex, just teaching myself through things like Fruity Loops and GarageBand and putting out a lot of DIY releases. After releasing a number of albums and EPs under that name, I wanted to push myself further and take things a bit more seriously, both in terms of production and sound. That’s really where Cyberwaste came in.
The name itself actually came from a Fear Factory song, and like most things, it just stuck. Naming a project is always harder than it sounds, so when something feels right, you just go with it.
Cyberwaste sits somewhere between trip hop, dark electronic pop and more experimental electronica. It pulls from a really wide range of influences, everything from Nine Inch Nails, Massive Attack and Portishead through to Aphex Twin, UNKLE, Grimes and even bits of industrial and film soundtracks. I’ve always liked blending genres and seeing what happens, so it’s quite a fluid project in that sense.
It’s always been quite personal as well. A lot of it started with me just experimenting on my own, building soundscapes and ideas, and then slowly shaping that into something more complete. Over time it’s grown into more than just music too, with live shows bringing in visuals and projection to create a more immersive experience.
Alongside Cyberwaste, I’ve had a few other projects over the years. DJ Cyberash was more focused on DJ sets and remixes, and Rose Astronaut came from my Masters, combining sound with photography and film to build more atmospheric, sci fi leaning pieces. That one’s a bit quieter now while I focus on Cyberwaste, but it was a really important part of my creative journey.
At the moment, Cyberwaste is my main musical outlet, and I think what I like most about it is the freedom. It can be quite hypnotic and atmospheric one moment, then shift into something heavier or more beat driven the next. It’s just about creating something immersive and honest, and seeing where it takes me.
You’ve been involved with a ton of different artistic areas which I’ve probably haven’t touched upon which I can only apologize for especially after reading this great article. - https://www.metalwomen.com/professionals/ashlinn-nash/ - What is your favourite area of work that you’re currently involved with?
That’s really kind of you to say, I’ve ended up trying a lot of different creative things over the years, but music has always been the one that stuck. It’s the place that’s always felt the most natural to me, whether I’m photographing it, writing about it, or working with bands behind the scenes.
There’s just something about live music that feels real in a way nothing else does. It’s loud, a bit unpredictable, sometimes chaotic, but completely honest. Trying to capture that, either through a photo or in words, still gives me the same feeling it did when I first started shooting bands as a teenager.
I think exploring different areas has actually helped shape how I work now. I’ve picked up bits from everything. The storytelling from journalism, the eye from photography, and the people and organisation side from management. It all comes together in the way I work with bands today.
So if I had to choose, it’s being part of the music scene in a proper, hands-on way. Not just watching it happen, but contributing to it, supporting it, and helping it grow. That’s the part that feels like home to me, and I don’t think that’ll ever change.
What have been your personal highlights and setbacks during your time promoting the music you love?
There’s definitely been a mix of both when it comes to promoting the music I love.
The highlights are always the people and those moments where everything just seems to come together in a really natural way, whether that’s seeing bands you’ve worked with step onto bigger stages, watching something you’ve helped build actually land, or just being at a show where you can feel that energy in the room. Going to Bloodstock with Famyne was a huge highlight for me, just being there, seeing it all happen, and knowing the journey behind it made it really special, and interviewing artists I grew up listening to is another one that still feels a bit surreal when I think about it.
More than anything though, it’s the relationships that mean the most to me, being trusted by bands, being part of their journey, and watching things grow over time is something I really value.
On the other side, there are definitely challenges, and the industry can be quite unpredictable at times, things fall through, plans change, and sometimes you can put a lot of time and energy into something that doesn’t quite work out the way you hoped. One of the hardest moments is booking a gig, getting everything confirmed and locked in, and then the venue closes, which is always a tough one to take.
It’s also difficult seeing venues and print magazines disappear more broadly, especially when they’ve meant so much to the scene and to people’s lives, and Covid was another big moment where everything just stopped overnight, which really showed how fragile things can be.
The internet is a bit of both as well, because while it’s amazing for getting music out there and connecting people, things move so quickly that it can be easy for music to get lost just as fast.
But overall, you just learn to adapt, stay grounded, and keep showing up for the music you care about, because that’s what matters in the end.
If you could give any words of wisdom to your younger self or someone wanting to start a promotions company or a similar career to what you’ve achieved , what would it be?
I think the main thing I’d say is just start, even if you don’t feel ready, because the truth is you probably never will feel completely ready, and a lot of this kind of work is learning as you go, figuring things out in real time, and building your confidence through actually doing it rather than waiting for the perfect moment to begin.
I’d also say be kind, both to other people and to yourself, because the music world is so built on relationships and trust, and how you treat people really does stay with them, but at the same time it’s important not to burn yourself out trying to do everything for everyone, because that’s something I’ve definitely learned the hard way, so setting boundaries and knowing where to put your energy really matters.
Stay curious as well, go to shows, talk to people, ask questions, try things out, and don’t worry too much about having everything mapped out, because you don’t need to, and a lot of the best opportunities come from just being present, being involved, and consistently showing up.
And I think the biggest thing is to work with people you genuinely believe in, because it makes everything feel more meaningful, and it helps keep you grounded when things get tough, which they will at times.
There isn’t really one set path into this kind of work, everyone finds their own way through it, so it’s about trusting that process, sticking with it, and trying to enjoy it along the way as much as you can.
What bands are impressing you the most today. Any great bands that folks should look out for?
That’s always a tricky one because there’s just so much good music around at the moment, but there are definitely a few bands and artists that have really stuck with me lately.
Alongside all the brilliant ones I’ve already mentioned like Löwdown, Desert Storm, Wall, Godless Suns, Cage Fight, Clobber and Twin Mill, who are all bringing something really fresh and exciting, there are a few others I’ve been going back to quite a bit. I discovered Torus at Desertfest last year and they really stayed with me, there’s just something about their sound and presence that pulls you in straight away. Slump have that raw, slightly chaotic energy that just works, Slabdragger bring that proper heavy, sludgy weight especially live, and Alunah are one of those bands who just keep delivering, with that mix of doom and melody that feels really timeless.
Jukebox Monkey are another I’d definitely recommend, loads of personality and a really clear sense of who they are, and Skelta feel like they’re building something exciting as well.
On a completely different side of things, Benjamin Cook is someone I’d always mention too, especially if you want something more calm and emotive, his music is genuinely beautiful and has a completely different kind of impact.
And honestly, pretty much all of the bands on the DC Sound Attack roster are worth checking out, Space Pistol, Cell Games and NOST are all doing their own thing but with the same kind of drive behind them, which is always great to see.
More than anything, I just think it’s really important to support the local scene, because that’s where all of this starts and where so much of the passion sits.
For me, it always comes down to that feeling, if a band feels genuine and you can tell they really mean what they’re doing, they’re usually the ones worth keeping an eye on.
Ashlinn, I want to thank you for doing this interview. It’s been a real honour to feature you on the blog. Keep up the amazing work.
Thank you so much, I really appreciate that, it genuinely means a lot.
It’s been really lovely chatting and being part of this, so thank you for having me and for the kind words.
Ashlinn, I want to thank you for doing this interview. It’s been a real honour to feature you on the blog. Keep up the amazing work.
Thank you so much, I really appreciate that, it genuinely means a lot.
It’s been really lovely chatting and being part of this, so thank you for having me and for the kind words.
Words by Steve Howe and Ashlinn Nash
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