Bossing It: How Steve Joyce Learned Leadership through Music

Steve Joyce studied music at the Guildhall School of Music and Drama where he trained as a timpanist and orchestral conductor. He worked as a freelance conductor for several years, working with several major symphony orchestras in Europe and the USA before a change of career brought him back into music publishing at Boosey & Hawkes (Concord). 

Steve subsequently worked at reggae publisher Greensleeves/VP Records, Crosstown Songs and as head of publishing at Eaton Music (publisher for George Fenton’s ‘Planet Earth’ and ‘Life’) and Valentine Music looking after the catalogue for Dave Brubeck (also The Birdie Song).

Moving more into music in advertising, Steve managed Airstate publishing for several years, before expanding Sounds Like Publishing into the UK, which has grown to be a leading publisher for music in advertising, looking after c.250 music production companies, brands, production libraries and individual composers.

LBB> What was your first experience of leadership?

Steve> This is perhaps an unconventional answer, but it would have been through music, specifically as a conductor. I remember standing in front of our college orchestra for the first time, scared stiff, trying it out for the first time, I would have been about 18 or so. A lot of people think conducting is just waiving your arms around and looking flash, whilst the musicians ignore you and play anyway — a lot of the time that’s not so far from the truth.

In reality, it’s a complex interplay of personalities, egos and opinions. A teacher of mine would always say, conducting is 90% people, and only 10% music, which always stuck with me. Pretty much all the skills I learned over the years as a musician are totally transferable and relatable in a business sense. 

LBB> How did you figure out what kind of leader you wanted to be – or what kind of leader you didn’t want to be?

Steve> Also through music. Traditionally, in the '50s through to the '80s, conductors were huge personalities (think Leonard Bernstein), many were autocrats who had complete authority over the orchestra (swap out for ‘company’) and could hire and fire at will. Their word was all that counted and individual players just did what they were told and rein in their own individual personalities and input.

Thankfully that’s mostly changed now, and most top conductors are more congenial and collaborative, the power balance has certainly shifted in favour of the orchestra players. This is made up of 80 plus highly trained, highly skilled individuals who have spent most of their lives playing, with some being the best in the world at what they do. Anyone coming into that environment thinking they can just snap their fingers and have their way is going to have a bit of a surprise.

I learned early on that I wasn’t the sort of personality to try and impose an idea on anyone, let alone hardened professionals who knew perfectly well what they were doing. Still, having so many strong personalities pulling in different directions left to their own devices will always be quite chaotic, so there needs to be someone at the helm, hopefully gently suggesting and guiding things rather than with an iron first. 

Like riding a horse (which I’ve never done, I’ve heard people do), you have the reins, but it can throw you off at any minute. It’s about creating an environment where people have the space and freedom to be the best at what they do.

LBB> What experience or moment gave you your biggest lesson in leadership?

Steve> Getting rid of the ego. I’ve taken part in four cycling tours with the Fireflies (an advertising industry cycling group raising money for blood cancer research, cycling over the Alps each from Geneva to the Cannes Lions). What struck me is that there was this unspoken rule of sorts that no one on the ride talked about their job or their work (certainly not to try and get/pitch business or anything about that). 

Eventually you find out that the group is full of really high achieving people — agency CEO’s, creative directors, MD’s, top brass at serious media and advertising companies. But for the nine days or so, this is put aside, and no one is above anyone else, you ride as a group, climbing two or three Tour de France route mountains a day, it’s brutal. You stick with those who are struggling, and when you’re struggling yourself will always find people with you for support helping you carry on — physically and mentally. 

It doesn’t matter how highfalutin’ this or that person’s job title is, how big the company is, how successful they are, everyone is in the same boat and there for each other — everyone supporting the team, without any ego. It’s an amazing thing to be a part of.

LBB> Did you know you always wanted to take on a leadership role? If so how did you work towards it and if not, when did you start realising that you had it in you?

Steve> No not at all. I’ve always been quite shy as an individual, always the last to step up or draw attention to myself. I gradually found and built up some confidence through music and performing, though always expected to be found out at any moment. The same was true with my real job, it’s taken time and effort to build up to where we are as a business, and that I have the right to be there running things. Now I think anyone who’s willing to step up, show up and put the work in, has the right to be there.

LBB> When it comes to 'leadership' as a skill, how much do you think is a natural part of personality, how much can be taught and learned?

Steve> There’s a lot you can learn about the processes, management techniques and protocol etc, there are books on everything, but being a genuinely inspiring leader is just something some people have. I think a lot of it comes down to confidence and trust, in both you and those around you. 

If you surround yourself with excellent people who are great at what they do, the rest is pretty easy, there’s no need to micromanage anyone and you get stay focussed on the bigger picture whilst your colleagues, I hope, feel seen and valued. Help, if you can, but don’t get in the way. Let them get on with it.

LBB> What are the aspects of leadership that you find most personally challenging? And how do you work through them?

Steve> Giving up aspects of the job that you enjoy as you switch more to managerial tasks. I remember a friend progressing up the ladder in his own career, and becoming frustrated as he got more senior, he was doing less of the work he loved and what brought him to the job in the first place. Another friend refers to the leadership pyramid, where a line is drawn at the point you have to start to delegate as you take on more responsibility. There’s no getting around that really, best get used to the accounts.

LBB> As you developed your leadership skills did you have a mentor, if so who were/are they and what have you learned? And on the flip side, do you mentor any aspiring leaders and how do you approach that relationship?

Steve> I’ve always been fortunate to come across some fantastic people in my career. I’m not sure any of them would consider themselves a mentor as such, but there’s no doubt how much I’ve learned and still learn from them.

Let’s make some people blush then – Paul Reynolds (MassiveMusic/Songtradr), one of the first people I met in the industry. Seeing how Paul has managed and grown his team over the years, from four to 35 or so has been a masterclass, on top of his work as chair of the PCAM committee protecting the rights of media composers. He’s been a constant source for advice and ideas. 

There isn’t a scenario I can think of, positive and negative from the ridiculous the absolute tragic that he hasn’t handled in the most professional manner. He has the respect of his entire team and is known as one of the nicest people in the business. He operates at the standard I try to aim for myself. 

The late Jonathan Goldstein was also a huge support for me as I was starting out and finding my way. I’m also hugely grateful for the support and advice from younger friends in the business – Dave Connolly (Molecular Sound) for one, and of course our own head of operations, Irma. 

Some others who would probably be surprised to be mentioned but have had a quiet influence on me from how they manage their own companies would be Marie Owen (LS Productions) and Chris Page (Jelly).

As for myself, I currently mentor a couple of young musicians with my conductor hat on, though not yet anyone within the industry — happy to hear from anyone!

LBB> In continually changing market circumstances, how do you cope with the responsibility of leading a team through difficult waters?

Steve> Fortunately, we haven’t (touch wood) faced any notable adversity yet. Our line of business is such that we were able to come through the covid pandemic unscathed. We’re taking seriously, of course, the inevitable changes that AI will bring to the industry, though staying positive – I don’t hear the death knell for this kind of work just yet, so we must embrace these developments and see how we can use them to improve our services.

LBB>As a leader, what are some of the ways in which you’ve prioritised diversity and inclusion within your workforce?

Steve> As a tiny company, we haven’t yet got to the point of growth where we’ve needed to be active on this front – though we currently have a good balance. It’s fantastic to see a higher proportion of really excellent diverse talent in various composer / producer / supervisor roles across our client base, and the industry in general, though of course appreciate these are vastly underrepresented. 

In particular a huge shout out to the work being done by our friends at Resister Music championing diverse talent and putting out amazing work, and to Becky Wixon for masterminding the Balance the Mix initiative

LBB> How important is your company culture to the success of your business? And how have you managed to keep it alive with increases in remote and hybrid working patterns?

Steve> I’d put a lot of importance on our culture. I was working on my own for so many years, my colleague Peter being in Amsterdam, so relied on being welcome to hot desk at various clients’ offices to have any kind of real-life interactions. The covid years were gruesome but left a lot of people perfectly used to working from home. 

We’re in our own office now, but without being dogmatic about whether we’re in every day or at the same time – we’re all creatures of contact of course, though as small company it’s equally important to have time apart as it is time together, so we try and find a good balance.

LBB> What are the most useful resources you’ve found to help you along your leadership journey?

Steve> PCAM, PRS for Music, the APA and MPA (Music Publishers Association) have always run hugely helpful programmes and seminars which have been great for professional development. Though more than anything my colleagues and clients, learning from those who have been there and done that, and people I work closely with who are happy to tell me when things aren’t quite what I think.