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Sally Anne Gross started her career in the music industry as a music manager in 1990. Over two decades she has been involved with 5 acts ( either as a manager or a record company director) that have each sold over a million records: Adamski, Rollo and Rob D (who are responsible for Dido), Urban Cookie Collective, William Orbit, Gotan Project and now One Direction with the song Little Things, penned by her client Fiona Bevan.

In 2000, Sally won the Helena Kennedy Award for Outstanding Legal Criticism whilst studying law at Birkbeck University, after which she spent a couple of years working in entertainment law.

Sally has been involved with all aspects of the music industry from raves in the French Alps to sold out shows at Hollywood Bowl to Sydney Opera House.

She continues to work as international business affairs manager for Ya Basta Records and Science et Melodie Publishing in Paris, home of Gotan Project and producer and DJ Philippe Cohen Solal, as well as teaching at the University of Westminster where she is Program Director of the Music Business Management MA.

Sally is particularly interested in music development theory (A & R), labour relations, gender inequality, diversity and copyright law and how its development impacts on the creative processes.

She has a passion for the arts from everything from cooking and literature to dub-step and disco. She lives in Hertfordshire and has four adult children who all work in the creative arts.

Sally teaches on several of the University of Westminster music degrees at both undergraduate and postgraduate level. She has been a visiting lecturer in both Germany and France, as well as teaching on many music industry courses over the years. Her subjects range from artist development and artist management, Copyright management and Intellectual Property.  As well as more practical workshops on setting up an independent music label, to international touring and marketing.

Labour relations in the music industry - in sickness and in health. Gender inequality in the business of music and music production. Big data - what do the numbers really tell us? The politics of cultural production.

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