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RAINNE

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Meet RAINNE: L.A.'s Dark-Pop Duo On A Meteoric Rise

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Inside their journey from GRAMMY Camp and GRAMMY U to the Hollywood Bowl opening for some of music's biggest stars and the event that raised over $450k for MusiCares
Nate Hertweck
GRAMMYs
Dec 20, 2019 - 4:09 pm

Even if you aren't yet familiar with RAINNE, the L.A.-based duo consisting of singer/songwriter Annie Dingwall and saxophonist/engineer Justin Klunk, you're definitely familiar with the artists they opened for on Oct. 19 at "We Can Survive" at the Hollywood Bowl: Taylor Swift, Lizzo, Camila Cabello, the Jonas Brothers, Billie Eilish, Becky G, Halsey, and Marshmello. So how did they get there?

The short answer is RAINNE was selected out of over 14,000 artists who entered the Opening Act contest, 97.1 AMP Radio, and Radio.com, ultimately winning the grand prize opening slot on the bill and $10,000. Remarkably, the event also raised a whopping $450,000 for MusiCares  toward its efforts to ensure music people have a place to turn in times of financial, medical and personal need.

The long answer stretches back nearly a decade, to when Dingwall and Klunk first met as part of the GRAMMY Museum's GRAMMY Camp music industry program for high school students. Their journey to the Hollywood Bowl stage also went through GRAMMY U, the Recording Academy's university network for college students, and USC's Popular Music Program, which they both attended.

Now, with the momentum of their Hollywood Bowl debut and a string of infections singles like "Psycho Killer," Hollow" and the newly released "Sin," RAINNE are just getting started. The Recording Academy caught up with the rising dark-pop duo to hear about their experience at "We Can Survive," the evolution of their sound and more…

First of all – for the uninitiated – tell us more about RAINNE's music. Where do you feel your unique dark-pop comes from?

Dingwall: It has definitely been a journey to find our own sound. Both Justin and I have a wide array of music influences, so it’s been fun to draw our favorite aspects from those different genres and incorporate them in our music. From a songwriting perspective, the songs we put out all have a couple common threads that weave them together – both musically and lyrically – and darker sounds and lyrics are definitely one of those motifs that define our sound.

Klunk: Our music and ‘voices’ have been evolving since we met, and this is where we feel the most comfortable expressing ourselves right now. 

That's right, you met at GRAMMY Camp. What do you remember about the program and has it helped you in your career?

Klunk: Personally, GRAMMY Camp was a major part of my musical education. Prior to the camp, I was really oblivious to the other jobs and responsibilities involved with putting on a show, or creating a record. The only thing on my mind was to play the saxophone, and the camp really opened eyes to the industry. It was inspiring for me to see while I was trying to figure out what I wanted to do for a living. And the program still affects us to this day. We keep in touch with a bunch of GRAMMY Camp alumnus, and it’s great to see how everyone is pursuing and thriving in their own endeavors.

In January, I’m actually going to be a part of the GRAMMY In The Schools Alumni band, so that’ll be a ton of fun to see some familiar faces.

Dingwall: I don’t think I realized back then just how impactful going to GRAMMY Camp would be on my life and career. It was a huge part of my musical foundation and introduction to Los Angeles – and introduced me to my best friend and band mate! I am so grateful to have met and worked with so many amazing people at Camp and so happy that they continue to be a part of our lives.

After GRAMMY Camp, how did you two start RAINNE?

Dingwall: RAINNE was a long time coming for us. After Camp, through college, and for a good time after graduation, Justin and I were playing shows together, but at the same time pursuing our own solo interests and projects. Justin released a few instrumental saxophone EPs and toured with Ariana Grande, Saint Motel, and many others, and I released some solo material and was writing for other artists and tv/film projects, but all the while we continued playing shows together. I think over the years we both felt the most comfortable and creative when performing together, and decided that we wanted to do that more than any of the other things we had going on. We decided to become a band a couple years ago and haven’t looked back since.

As a duo, how do you like to work together? What's your songwriting and production process?

Klunk: Our approach to the band is to utilize each other’s strengths and pick up the slack where one of us may fall short. We each bring a different set of skills to the band that compliment each other very well. Historically Annie has been the main songwriter for the group and I have focused more on the live band arrangements, but as we grow we are both becoming heavily involved in every aspect of the band. We have teamed up with amazing producers who understand the sound we are trying to achieve and help us make recordings we are proud to share with the world.

I also understand you participated in GRAMMY U. What was your experience like?

Klunk: GRAMMY U was wonderful. We got to attend and participate in a ton of events while we were in college – even a battle of the bands. There were even a few GRAMMY Career Days we was able to participate in, which were a blast. The various panels in L.A. and at the GRAMMY Museum were really great to check out.

Dingwall: The opportunity learn directly from successful people in the industry is something that not everyone has access to, and we were grateful to be a part of an organization that afforded us those possibilities.

How did you get involved with the Opening Act contest for "We Can Survive," and what do you think set you apart from the thousands of entrants?

Dingwall: Funny enough, Justin saw an ad for the competition on Instagram. He entered us and didn’t tell me about it until a few days afterwards. To be honest, we thought it was such a long shot, but we ended up progressing through the multiple rounds and when we got into the Top 16, we thought “Hey! Someone from the Top 16 has to win – and that someone could be us!”. The outpouring of love and support we received throughout this whole process was amazing and incredible. We are so honored and grateful to everyone who helped us get to the Hollywood Bowl. Not only that, but a portion of the votes was donated to MusiCares – which is an organization we fully support and had been involved with in the past. They do amazing things for the music community and we are happy to contribute in any way that we can. “We Can Survive” is a really special night at the Bowl and we loved to be a part of such a magical night supporting a great cause.

How did it feel performing at the Hollywood Bowl, especially on such a stacked bill. Any surprising moments?

Klunk: It was INCREDIBLE! We were obviously a bit nervous; not only was it an iconic stage, but a ridiculously stacked lineup. We just made sure to over-prepare during our rehearsal process so that we were ready for any curveball that could come our way. We found that the entire production team and staff were the kindest people ever, and they really treated us just like any of the other artists or bands on the bill. Words can’t describe how smooth they made that process and how welcomed they made us feel. 

With such a prolific and successful 2019 behind you now, what's next for RAINNE in 2020?

Dingwall: We are definitely looking forward to seeing what is in store for us in 2020. Right now we have big plans to release tons of new music and grow our fanbase.

Klunk: We also really want to tour and play even more shows than we played this year. We’d love to be opening for another artist on the road. Our shared love for performing is what got us started and we want to continue sharing that with as many people as possible! 

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Sierra Lever

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:NEXT With Sierra Lever: The Rising Music Marketer Talks Artist Storytelling, Kendrick Lamar & More

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The future industry leader and Associate Marketing Director at Columbia Records opens up about how 'Good Kid, M.A.A.D City' inspired her to champion artists' stories and pursue a career in music
Nate Hertweck
GRAMMYs
Nov 11, 2019 - 1:31 pm

Meet Sierra Lever, a young music professional primed to make waves in the industry. As Associate Marketing Director at Columbia Records, she already has worked on such major releases as Tyga, Polo G, Chloe X Halle, Chase B, and previously at Motown Records on Migos, Stefflon Don, Zaytoven, and more. She's also featured in the latest episode of :NEXT, the Recording Academy’s new digital short-run series featuring the future of the music industry.

Music Marketer Sierra Lever Is :NEXT

Her journey began back home in Portland, where she put on parties to showcase local talent. She began booking more artists, big artists, such as Too $hort and Big Krit on her college campus. Her DIY spirit and interest in the behind-the-scenes workings of the music business led to her joining GRAMMY U and eventually taking an internship in the Recording Academy, where she worked in the Awards department and the Executive Office.

This wide range of experience helped illuminate Sierra's path into marketing, where she could learn how to tell artists' stories in a way that helps spread the word about their music. And while going to a Spice Girls concert as a little girl that lit the initial spark of Sierra's interest in music, it was a seminal hip-hop album that showed her the way to a career in the industry.

"Kendrick Lamar's Good Kid, M.A.A.D City was the album that really inspired me to enter into the music industry," she said. "[It] really tells his story. And it connected to me, and it connected to so many, It really represented the pressures of our environment that we live in… the minute I listened to it, it was on repeat. There's really no skips for this album. It's very thematic. It has all these different themes from the Bible to street violence to love and lust, all those different elements."

Sierra felt she was part of something when she listened to that album. Not content to be just a fan, she wanted to share that sense of belonging. She drew inspiration from the artists she loved and channeled those storytelling concepts into her own career on the business side of music.

"You have to be a student of the game," she said. "That is what really shows. You see these artists and you see how them studying the game really translates to their evolution over time, and I feel like that's the same for me working as a professional in music, [finding my] individuality [and] really taking risks."

Sierra first heard about :NEXT as an intern at the Academy. As her eligibility for GRAMMY U was coming to a close, Lever thought it'd be the perfect segue into a professional career. She was right.

"The best part about being a 'Nexter' is really being able to connect with your peers and see your peers evolve. That is a big thing for me, to be able to support each other, to know that you do have a support system," she said, adding, "We have panels, we have these industry vets that we get to have that face time with and connection with."

Sierra also talks fondly of her mentor, Recording Academy Washington D.C. Chapter Executive Director Jeriel Johnson. "He is someone who is really connected in the urban [music] space, someone who is a leader within it. I identified with him in the sense of, this is where I want to go and where I want to grow," she said.

"The most valuable lesson I learned from him is to always try," Sierra said. "Always go with your foot forward in the sense of, 'I'm learning and I'm going to be successful.'"

Now, Lever is striving to pursue her dreams in the music industry, and being a part of :NEXT has helped her stay on course. She compares the support she's received—and given to her fellow young music professionals—to that of a family.

"I will say this: The GRAMMYs, they are a family to me. There are so many people who have seen me evolve over time," Sierra says.

Her long-term vision is to continue to tell artists' stories, and she's off to a great start. She puts it best when asked what else she's learned from Johnson,  her :NEXT mentor, about being successful in music:

"When you strive for success, you never fail, you just learn."

:NEXT With Scott Michael Smith: The Innovative Producer/Mixer On Taking Risks, Steve Reich & More

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Hero The Band perform at the Recording Academy Atlanta Chapter Annual Membership Celebration
Photo: Marcus Ingram/WireImage

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Report: Music & Culture Infrastructure Can Create Better "Future Cities"

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How sound planning for a creative future in our urban areas makes all the difference for artists and musicians
Nate Hertweck
GRAMMYs
Oct 23, 2019 - 2:27 pm

The future, as they say, is now. And for music makers around the world, building a future for themselves often starts at home, in their local creative community and in the city where they live. While technology has expanded communication and made the world smaller, cities continue to grow, making planning for the future a critical cultural mission of the present.

To that end, a new report by global organization Sound Diplomacy titled "This Must Be The Place" examines, "The role of music and cultural infrastructure in creating better future cities for all of us." The 37-page deep dive into community planning and development highlights the importance of creative culture in what it calls "Future Cities."

"The government defines ‘Future Cities’ as 'a term used to imagine what cities themselves will be like," the report states, "how they will operate, what systems will orchestrate them and how they will relate to their stakeholders (citizens, governments, businesses, investors, and others),'"

According to the report, only three global cities or states currently have cultural infrastructure plans: London, Amsterdam and New South Wales. This fact may be surprising considering how city planning and sustainability have become part of the discussion on development of urban areas, where the UN estimates 68 percent of people will live by 2050.

"Our future places must look at music and culture ecologically. Much like the way a building is an ecosystem, so is a community of creators, makers, consumers and disseminators," the report says. "The manner in which we understand how to maintain a building is not translated to protecting, preserving and promoting music and culture in communities."

The comparison and interaction between the intangibility of culture and the presence of physical space is an ongoing theme throughout the report. For instance, one section of the report outlines how buildings can and should be designed to fit the cultural needs of the neighborhoods they populate, as too often, use of a commercial space is considered during the leasing process, not the construction process, leading to costly renovations.

"All future cities are creative cities. All future cities are music cities."

On the residential side, as cities grow denser, the need increases for thoughtful acoustic design and sufficient sound isolation. Future cities can and should be places where people congregate

"If we don’t design and build our future cities to facilitate and welcome music and experience, we lose what makes them worth living in."

For musicians and artists of all mediums, the answer to making—and keeping—their cities worth living in boils down to considering their needs, impact and value more carefully and sooner in the planning process.

"The report argues that property is no longer an asset business, but one built on facilitating platforms for congregation, community and cohesion," it says. "By using music and culture at the beginning of the development process and incorporating it across the value chain from bid to design, meanwhile to construction, activation to commercialisation, this thinking and practice will result in better places."

The report offers examples of how planners and leaders are handling this from around the world. For instance, the Mayor Of London Night Czar, who helps ensure safety and nighttime infrastructure for venues toward the Mayor's Vision for London as a 24-hour city. Stateside, Pittsburgh, Penn., also has a Night Mayor in place to support and inform the growth of its creative class.

Diversity, inclusion, health and well-being also factor into the reports comprehensive look at how music and culture are every bit as important as conventional business, ergonomic and environmental considerations in Future Cites. Using the Queensland Chamber of Arts and Culture as a reference, it declared, "A Chamber of Culture is as important as a Chamber of Commerce."

In the end, the report serves as a beacon of light for governments, organizations, businesses and individuals involved in planning and developing future cities. Its core principals lay out guideposts for building friendly places to music and culture and are backed with case studies and recommendations. But perhaps the key to this progress is in changing how we approach the use of space itself, as the answer to supporting music may be found in how we look at the spaces we inhabit.

"To develop better cities, towns and places, we must alter the way we think about development, and place music and culture alongside design, viability, construction and customer experience," it says. "Buildings must be treated as platforms, not assets. We must explore mixed‑use within mixed‑use, so a floor of a building, or a lesser‑value ground floor unit can have multiple solutions for multiple communities."

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Alex Ritchie

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:NEXT With Alex Ritchie: The Musical Triple Threat On Her New EP, Drawing Inspiration From Imagine Dragons & More

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The emerging artist, songwriter and producer opens up about her path to success, the release of '404' and more in the premiere episode of :NEXT, the Recording Academy's new digital series on the future of the music industry
Nate Hertweck
GRAMMYs
Oct 28, 2019 - 1:14 pm

Every success story starts somewhere. Los Angeles' Alex Ritchie counts her breakout moment as being asked to perform at a women's rock night at Hollywood's famous Whisky a Go Go after the booking agent heard something special in her rough, homemade recordings on her MySpace page. Over a decade later, Ritchie has worked in a variety of music industry roles with several creative heavyweights, has released her debut EP, 404, and is now the subject of the premier episode of :NEXT, the Recording Academy's new short-run digital series featuring the future of the music industry.

Artist/Songwriter/Producer Alex Ritchie Is :NEXT

The triple-threat artist, songwriter and producer has cultivated her passion for music from joining GRAMMY U, the Recording Academy's music industry college student resource network, to the Recording Academy Los Angeles Chapter's GRAMMYNext program for future music industry leaders, to her return her artist beginnings with the release of her brand new EP earlier this year. But her musical dreams didn't always seem so within reach.

“I’m the only musician in my family, and I came from a family of humble means; so even though I had conviction in what I wanted from a young age, it wasn’t “realistic,” Ritchie said. "I’d seen my parents suffer from the economy crash in 2008 and, realistically speaking, pursuing something like entertainment was so risky. I couldn’t afford to fail. We couldn’t afford to dream like that. BUT I had unrealistic dreams anyway, and after my first gig at the Whisky I knew that was it.”

After her Sunset Strip debut, Ritchie got to work, honing her self-taught skills in the studio, joining GRAMMY U while in New York and, after moving back to L.A., working her way into collaborations with the likes of Harvey Mason Jr., Gizzle, Snipe Young, Keith Hetrick, Steve “Steve B” Baughman, David Kim, and Lee Major, to name a few. Ritchie also became the youngest sitting member on two Recording Academy L.A. Chapter committees, earned a full scholarship from Westlake Studios & Electronic Music Magazine to attend Westlake’s new Crē•8 Music Academy for music production, and built relationshisp and become recognized by mega-brands such as Delta and Fender. 

Working all over the page to develop her blossoming career, Ritchie names her musical influences as, well, everything, noting a specific interest in new music. But one influence that sticks out is GRAMMY-winning pop/rock band Imagine Dragons.

"Imagine Dragons has consistently put forth music that pushed boundaries. They're produced by Alex Da Kid, who's my idol producer," she said. "I really always wanted to marinade my roots from singer/songwriter and '90s rock music to what's going on currently, and I thought they did that perfectly with Evolve. It just made me want to step up my game and  really push boundaries and be super free and creative with any of the music I'm working on."

Ritchie poured this freedom and creativity into her new EP, 404, which dropped in May of 2019 and featured collaborations with up-and-coming talents, including The Wildcardz, Snipe Young, and Australia's Nick De La Hoyde. With a strong foundation from her time in GRAMMY U and a supportive network through GRAMMYNext already in place, Ritchie is ready to share her unique personal background and musical talents with a wider audience. She credits her hard work with the Recording Academy's developmental programs helped her find her voice as an artist, hope as a young person in the music industry and the confidence to step out from behind-the-scenes in pursuit of her artistic dreams.

"To be honest, I really milked the opportunities given through GRAMMY U. It opened so many doors to create relationships with a lot of the right people, and also gave me a chance to meet many heroes and listen to their stories about coming up in music. It was a program that gave me hope, especially when it felt the odds were stacked against me. I’m a mixed-race, predominantly Asian-looking LGBTQ+ artist," she said. "When I started music, that combination wasn’t considered ‘commercial;’ in fact, it was more of a hindrance than a help.  I’ve definitely always been the underdog in the race, and was often advised to stay behind the scenes as a songwriter/producer.  Hearing a lot of those comments from industry people really got to me, so the GRAMMY U sessions really made me feel like it was all still possible.”

With her debut EP out now, Ritchie is currently focused on pitching new music for film and media projects, a world she's already gained valuable experience in by working under music supervisor and mentor Tracy McKnight as an assistant music consultant on projects including Disney’s Wrinkle In Time and Hulu’s Obey Giant. As she continues to amass a diverse mix of experience in the music industry, Ritchie is primed to carry the torch for her generation of future music industry leaders, leading a pack of her peers from GRAMMY U to GRAMMY Award hopefuls. 

"The best part about being a 'Nexter' was that I got a whole new family, and It's given me a network of peers that I trust and constantly seek counsil from and work with on the daily," said Ritchie. "They're all killing it right now in their own respective positions. So It gave me that awesome network outside of the family I already had at the Recording Academy. I'm super thankful to know all of them."

Check out Alex's episode of :NEXT above and stay tuned for new editions of the three-part, short-run digital series rolling out each Monday.

:NEXT To Feature The Future Of The Music Industry

GRAMMYs

:NEXT

(L-R) Scott Michael Smith, Alex Ritchie and Sierra Lever

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:NEXT To Feature The Future Of The Music Industry

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The new digital short-run video series from the Recording Academy highlighting talented members of the next generation of music creators and executives premieres Oct. 28
Nate Hertweck
GRAMMYs
Oct 24, 2019 - 4:01 pm

Get ready for what's next in the music industry. On Monday, Oct. 28, the Recording Academy will launch its new series, :NEXT, spotlighting talented up-and-coming music professionals from across the industry.

:NEXT Features The Future Of The Music Industry

From songwriters and artists, to producers and engineers, to music business professionals, the new digital short-run video series will look at a wide array of the future power players in music.

The series premiere will take a closer look at emerging artist, songwriter and producer Alex Ritchie and explore her path to releasing her debut EP, 404. Already in her career, she has worked with industry heavyweights such has Harvey Mason Jr., Gizzle, Snipe Young and Keith Hetrick. Look for Alex's episode right here on GRAMMY.com on Oct. 28.

Part two of the inagural three-part series, due out the following Mon., Nov. 3, will feature innovative producer/mixer Scott Michael Smith, who's recent credits include "The Handmaid's Tale," IT Chapter Two and Tranformers: Age of Extinction. Part three will be centered around Associate Marketing Director at Columbia Records Sierra Lever, who has has worked on major releases such as Tyga, Polo G, Chloe X Hallie, Chase B, and previously at Motown Records on Migos, Stefflon Don, Zaytoven and more.

Catch the first episode of :NEXT on Monday, Oct. 28 right here on GRAMMY.com and stay tuned for more from the future of the music industry.

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