Lola Plaku: From Journalist to Powerhouse in Music and Management

Before she was tour managing for French Montana or curating one of Toronto’s most impactful hip-hop blogs, Lola Plaku was just a university student with a love for music and an eye for potential. Her entry into the industry wasn’t calculated—it was instinctual, built on a drive to help artists she believed in succeed. She didn’t set out to be a manager, promoter, or tastemaker. She simply saw talent around her and decided they deserved a platform.

"I wasn't even trying to get into the music industry," Lola said. "I just wanted to see this group from Kitchener succeed." That simple intention became the spark for a career that’s spanned journalism, event production, artist development, and executive strategy. Each chapter of her story is tied together by a commitment to showing up, building from scratch, and amplifying others.

The HipHopCanada Era

Lola’s first real foothold came through HipHopCanada in the early 2000s—long before social media made it easy for artists to reach fans directly. It was a time when a placement on a respected site meant everything. “I advertised a show I put together on HipHopCanada and thought, ‘This is what I want to do. I want to be a journalist,’” she recalled. Her background in sociology gave her the curiosity; her love of music gave her purpose.

Introduced to founder Jesse Plunkett by a mutual connection, Lola quickly became a contributing writer. That evolved into a lead editor role where she not only interviewed emerging acts but shaped how stories were told. “People would literally say, ‘If it’s not written by Lola, it’s not official,’” she said. Her bios became so sought-after that artists would pass on other writers just to work with her. Her work ethic, even then, showed in how she handled press timing. “If your project’s not out, what are we promoting? Let’s wait,” she said—a rare, strategic mindset for someone just breaking in.

Bridging Artists and the City

As digital journalism evolved, so did Lola. She began translating her editorial access into event opportunities, becoming a trusted connector between U.S. artists and the Toronto market. “I was the first to bring Rick Ross to Toronto,” she said. “I booked him for Caribana after interviewing him in New York. I kept in touch with his team, and the next summer, we made it happen.”

For many artists, Lola became the first point of entry into Canada. Her efforts weren’t about hype—they were about relationships. “There wasn’t really a way for these artists to connect with Toronto without someone to bridge that gap. That became me,” she said. She wasn’t just hosting events—she was building pipelines. Her work brought artists like Big Boi, DJ Holiday, and Young Dro to Toronto, not just to perform but to build real connections with fans.

As she moved into concert production, she applied the same hands-on approach. Her first full concert with Big Sean in 2011 sold out, largely due to her street-level strategy. “I tweeted that I needed a street team, and the kids who showed up became my team,” she said. “They sold tickets, got backstage passes, and made that event a moment.”

The I Love Lola Platform

While building concerts and booking artists, Lola also launched her blog, I Love Lola. Initially a space to host interviews that didn’t quite fit other publications, it evolved into a self-contained platform. “It wasn’t about being trendy. It was about supporting artists I genuinely believed in,” she said. That clarity of mission helped her cut through the noise.

I Love Lola wasn’t just content—it was infrastructure. She used it to promote meet-and-greets, highlight under-the-radar acts, and even facilitate early shows for artists like The Weeknd. “We did his first show at Mod Club,” she said. “I still have the pass from that night.” Her curation wasn’t filtered through industry politics—it was guided by instinct, authenticity, and a deep connection to the culture.

From Promoter to Manager

One of the most pivotal moments in Lola’s career came after she organized a show for French Montana in Toronto. But it wasn’t just the show that made waves—it was everything around it. She secured visas, managed logistics, and personally delivered immigration paperwork to the border to ensure French could perform. The day after the show, he offered her a spot on his team.

"French said, ‘You want to be my road manager?’ That’s how it started," she recalled. From there, she became his day-to-day, managing everything from logistics to strategy. “Everything is urgent,” she said of the role. “The artist needs something now. And while that’s happening, you still have to loop in the label, set up radio promo, and keep things moving.”

Her attention to detail and natural sense for communication helped her stand out. “When I got to Interscope, someone told me, ‘You were the only one keeping us in the loop.’ I wasn’t even trying to impress them—I just thought that’s what needed to be done.”

Artist Development and the Marketing Mind

What makes Lola different isn’t just her work ethic—it’s how she approaches artist development. Her philosophy begins with audience, not product. “Ninety percent of the time, your fans are a reflection of you,” she said. “If an artist doesn’t know who they are, it’s hard to build anything.”

She applied that mindset while helping launch Savage Squad Records with Fredo Santana. “These kids were putting out music for free, not monetizing anything,” she said. “I wanted to help them structure things, sell merch, and turn their buzz into something sustainable.” She started with the basics—like forming an LLC with the help of a lawyer—and built from there.

Marketing, for Lola, isn’t about gimmicks—it’s about understanding. “Before I do anything, I want to know where the audience lives—what sites they visit, how they dress, what they value,” she said. “That’s how you meet them where they are instead of forcing something fake.”

The Evolution of Community

Lola’s story is inseparable from the idea of community. She speaks often of the era when people would take the Greyhound to New York to support a show, when showing up meant physically being there—not just leaving a comment. “Now, people leave a fire emoji and think that’s support,” she said. “Back then, we showed up. In person. Because we wanted to.”

Even as the industry has changed, that sense of presence still anchors her work. She built her network not through clout but through consistency. “I’d take the Greyhound from Texas to Toronto, or from Toronto to New York—just to show up,” she said. “That’s how I built relationships. That’s how I built trust.”

She’s quick to note that things have become more transactional over time. “Now it feels like people only help you if they can get something from you,” she said. “Back then, we did it because we believed in each other.”

Looking Forward

After years in the trenches—from writing bios to managing artists—Lola’s focus has shifted toward legacy. Today, she’s pouring energy into helping the people behind the scenes: the managers, publicists, brand teams, and creatives who make artists shine. “I want the teams to win too,” she said. “They deserve development just as much as the talent.”

She also reflects often on what she might’ve done differently. “If I knew then what I know now, I would’ve started a management company,” she admitted. “But you don’t know what you don’t know.” Her humility is real, but so is her impact. From Toronto basements to international stages, Lola has done the work—and done it her way.

What hasn’t changed is her mission. “I just want to see artists succeed,” she said. “That’s what it’s always been about.” And if her track record is any indication, that success often starts with someone like Lola believing in you before anyone else does.