The Impact of Music with Anneka Vestey

1. Can you tell us a bit about your current role and what motivated you to pursue a career in production within the sports industry?

I’m an Executive Producer at COPA90 – a fan-first football media business that specialises in understanding and influencing football culture through insight-led storytelling. I work with clients like Pepsi, Lay’s and Google Pixel.
 
Starting out I was always drawn to storytelling that truly connects with people. So sport felt like a natural path because nothing else ignites emotion and lifts spirits quite like it. The passion, the drama, the global language of it all – it's incredibly powerful.

2. What role does music play when you’re working on a production and how do you use music to enhance the projects you work on?

Music is a crucial part of everything I make. It’s often overlooked or tacked on at the end, but I make a point of bringing it into the process early. It sets the tone, shapes the emotion, and gives the visuals real impact. The right track can elevate a piece – the wrong one can flatten it. Getting that right is essential.

3. Do you have a favourite project that you are most proud of?

It might sound like a bit of a cop-out, but honestly, my most recent project is the one I’m most proud of. We recently delivered a full 360 campaign for Pepsi’s partnership with the Women’s Euros, and it was a dream brief. From teaser photography and reactive UWCL content to a kick-ass TVC and standout social assets, the campaign will be seen across what’s shaping up to be an unforgettable summer of women’s football.
 
It ticked every box: iconic talent (Arsenal legend Leah Williamson, the GOAT Alexia Putellas, and even a cameo from Sir Becks himself), creative reinventions of classic Pepsi ads, and a production scale like nothing I’ve done before—six celebrity talent, five stages, three days, and hundreds of crew. It was complex, ambitious, and equal parts exhausting and energising.


4. What are some of the biggest challenges you have experienced working in your field, and how have you overcome them?

One of the ongoing challenges has been bringing in fresh talent from underrepresented communities. The industry often leans on tried-and-tested names, which can leave little room for emerging creatives. But social media has helped shift the balance, slowly opening up the playing field. Now, anyone with a camera and a story can find an audience—and I really admire those who carve out their own space.
 
I’ve also made it a priority to champion mentoring and actively hire from diverse backgrounds. If everyone in the room shares the same background, education, or life experience, you risk telling the same stories over and over. It’s the differences that bring originality—and that’s where the most powerful work comes from.

5. What advice would you give to other women looking to pursue a career in sports broadcasting and production?

Find a mentor—someone whose career you admire, who can offer honest, independent advice. It’s something I wish I’d had early on. Don’t be afraid to reach out on LinkedIn; I’ve taken on mentees that way myself. And if you don’t get a response right away, don’t be disheartened—many people are juggling a lot, and timing is everything.

If you prefer something more structured, brilliant programmes like Bloom or BelEve run annual mentoring schemes that can be a great place to start. However you go about it, come prepared. Know what you want to ask and be ready to make the most of your mentor’s time—you’ll get so much more out of it.