IN CONVERSATION WITH HANNAH HOLLAND

interview by JANA LETONJA
photography by GAVIN GLAVE

Hannah Holland is redefining the UK talent landscape as the Forbes 30 Under 30 CEO of HLD Talent, the country’s fastest-growing digital-first talent agency. At just 24, she launched HLD with a vision to transform how digital creators navigate entertainment and personal branding. Today, she leads a powerhouse roster including GK Barry, Konan, Jack Joseph, Ami Charlize, Tennessee Thresher, and Charley Marlowe, while driving partnerships with global brands like Spotify, Adobe, Netflix, Footasylum, and Jimmy Choo. Under Hannah’s leadership, HLD has expanded talent into podcasts, broadcast, and beyond, creating hit shows such as ‘Saving Grace’ and ‘Ami Charlize’s Private Story’. With her sharp instincts and bold approach, Hannah is not only shaping careers but also steering the future of entertainment, proving that young women in business can transform the industry from the inside out.

 
 

You started HLD Talent at only 24. What inspired you to take that leap so early in your career?

I started HLD because I saw a real gap in the market, particularly when it came to female talent. At the time most agencies in the UK talent space were run by men, and I was working in the glamour space in magazines which was a whole different world. We weren’t making Reels or TikToks at the time, they hadn't even really been picked up yet by the mainstream.  

I’ve always known that I’m quite entrepreneurial and that I wasn’t meant to be managed by someone else. I liked the idea of creating something on my own. I was young and I didn’t have much to lose, so it felt like the right time to take that risk. My attitude was always “If it doesn’t work out, I’ll just get another job.”

What were some of the biggest challenges you faced in building an agency from scratch, and how did you overcome them?

One of the biggest challenges was being taken seriously as a young founder. Managing people who were older than me was tough, and I also had to learn a lot about the basics of business like VAT, accounting, and legal things. You don’t exactly learn all of that in school. 

When you start a business, you make mistakes. When you start a business young, you make even more mistakes. I spent money in places I shouldn’t have, but every mistake was a lesson. In the early days, people didn’t always take us seriously, so I focused on building the HLD brand and making sure it looked and felt professional. Once the team grew, I started focusing on internal structure and culture. Once you start to hire staff and build a larger team, everything becomes so much more complex because you have to take your team into consideration with every business decision you make. 

I’ve also learned that there’s no harm in asking for help. If you’re unsure about something, speak to others in your industry. Most people will happily share advice, and I don’t believe in gatekeeping. If anyone asks me for guidance, I’ll always share because I had some great mentors who did the same for me.

HLD has grown into a seven-figure business in just a few years. What do you think has been the key to that success?

The key has been having a great team and great talent that share the same drive and ambition as you do. When you manage talent, it’s not one person working for the other, it’s very much a partnership and a unit.

We also really understand brands and what people want from brands in this day and age. Talent management is a people business, and if you’re not good with people it’s going to be hard to succeed. In the early days, brands took a chance on our creators at a time when digital wasn’t the main focus and the success of those partnerships built trust and loyalty. Once we had those case studies for the success that creators could bring to campaigns, it really evolved from there. Because we’re a young, independent team, we're able to move quickly. We don’t have financial backing or a big company or board above us, which means we can make decisions and adapt fast.

How has your leadership style evolved as your team, and your roster, has expanded?

I’ve always had quite an unconventional leadership style. I don’t believe in micromanaging. If I have to micromanage someone, it’s probably not the right fit. But I do believe in developing people which is a big difference. As I’ve gotten older and gained more experience as a leader, I’ve definitely become more relaxed. I used to be quite intense and impulsive about getting things done, but I’ve learned to trust my team and let them lead. It’s best to work as one unit versus a bunch of different entities. One team, one dream and all that jazz. I’d describe my leadership as firm but fair, and a bit chaotic in a good way. I call it “organized chaos.” My desk might be messy, but I always know where everything is. I think my talent and teams would say the same, I get things done. 

When you’re considering signing someone new, what qualities or potential do you look for beyond follower numbers?

Someone’s following is actually something I don’t really look at. Of course, you need some kind of following, but what matters most is someone’s ability to build an engaged following and their commercial potential. It’s really about the community you’ve built with your audience and what unique thing you bring to the table. If someone’s only motivation is to make money, they’re doing it for the wrong reasons. I look for originality, personality, work ethic and authenticity. I also want my talent to have balance in their lives. I like to know that they take time off, rest, and have a life outside of work. Burning yourself out isn’t productive, especially in a creative job. 

How do you balance supporting your talent’s personal brand while also building long-term career opportunities?

It’s all about the power of “no”. You have to recognise the difference between what’s good for short-term monetization versus what’s right for the long-term strategy. They aren’t always one in the same. If you’re good at your job, you put the strategy first. That’s your foundation, that’s your handbook. The money always follows when you stay true to the bigger picture. If a deal comes and you can’t find a good enough reason to say “yes”, then you know your answer already. 

HLD has had huge success in podcasting. Why do you see this space as such an important pillar for digital creators?

It’s important to note that all our success in podcasting comes down to the amazing talent and production teams we’ve worked with. Studios like The Fellas, JamPot Productions, etc. have been really instrumental in building the foundations of those podcasts and then we’ve come in with the talent, guests, etc. 

That said, I don’t think everyone should have a podcast, it’s oversaturated. If you can’t clearly define what your podcast is about and why it exists, it’s probably not worth doing. There’s some really clever ways to diversify content right now. For example, I’m really into Substack right now for the founder and influencer content space. For the right talent, podcasts are a great way to build up their presenting skills and connect more deeply with their audience, but there needs to be a clear “why”. 

Social media moves fast. How do you and your team stay ahead of trends without chasing hype?

Hire a young team. Some of my team members are as young as 18, so they are truly living and breathing the next-generation of media. They are the ones educating us on what audiences online want and how it’s evolving. 

We also read a lot of industry reports and research what’s coming next. It’s important to keep in mind that not every digital trend is worth chasing. Remember ‘Houseparty’? It was huge during lockdown and then completely disappeared. It’s good to give new platforms a shot, but understand that it may not be where all the money is at. We focus on what feels authentic to us. The one trend that isn’t going anywhere is AI, so we’re really focused on understanding it and proactively incorporating it into our future-planning.

Do you think the lines between digital talent and traditional media stars are disappearing?

Definitely, it started happening a few years ago. Some really good examples are digital creators like GK Barry, Charley Marlowe, and Sam Thompson who have seamlessly stepped into TV and radio, taking on roles that used to belong only to traditional media personalities.

It’s a really exciting time and ultimately the internet is here to stay, and it’s a fantastic time because digital creators now have the same opportunities and earning potential as traditional stars. I’ve met TV stars who want to be bigger on digital and vice versa. I think the lines should blur even more. 

As a young female CEO in a competitive industry, what advice would you give to other women looking to break into leadership?

Block out the noise and understand your worth. Not everyone will see your value right away and that’s okay. Imposter syndrome isn’t a real thing. I’m where I am because I’ve worked for it and the only thing that’s ever held me back is listening to other people’s opinions. I was given some great advice to write down all the things you could be insecure about in leadership and then purposefully ignore them. I used to judge myself for not being very corporate or conventional, but quickly realised that it’s a part of my niche and superpower. You can’t conform if you want to make waves in an industry. 

It’s healthy to know who your competitors are, but it’s not healthy to compare yourself to them. March to the beat of your own drum and look at things from a place of fact and not fiction.

How do you stay creatively inspired and recharged amidst such a busy schedule?

I surround myself with good people who lift me up. Most of my closest friends have nothing to do with this industry and that’s really grounding. When we get together, we generally don’t talk about work. They may say something like “good job on that”, but that’s it. I also take Sunday as a complete reset day and don’t work unless it’s an emergency. I like to watch something mindless on TV, take notes if an idea pops up, and prepare my to-do list for Monday. That’s when I get my best ideas, when I’ve given myself space to rest.

Where do you see the future of the talent management space heading over the next five years?

If we’re not careful, AI could take over parts of agency work, but I don’t think it can ever replace the human side of what we do. Our job is fundamentally personal. It’s about understanding and protecting people, and AI will never be able to do that. We should embrace certain aspects of AI but never cave to it. I think we’ll also see more mergers between big and small agencies, and more digital creators moving into traditional spaces. It’s going to become more competitive and personal branding will become even more important. 

Finally, what’s next for you and HLD Talent? What big goals are you setting your sights on now?

Our focus now is on expanding further into the broadcast space. I’m CEO, but I’ve recently also become the Head of Broadcast, and my goal for 2026 is to continue bridging the gap between digital and mainstream media through building up incredible next-gen talent. 

We’re growing HLD very intentionally and carefully by expanding into new departments and markets, and building on the success of HLD Commercial, which we launched last year. That division focuses on sport and music talent and their intersection with commercial campaigns. We just want to be the best at what we do and continue to change the game in talent management. 

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