Gelareh Rouzbehani

Gelareh Rouzbehani

Photo: Daniel Prakopcyk

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Why A&R Matters In The Streaming Era: 7 Women Share Their Experiences

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We spoke with women working in A&R-related roles across labels and other music organizations to learn about why, even with streaming dominating the industry, their jobs are more vital than ever
Ana Monroy Yglesias
GRAMMYs
May 2, 2019 - 10:41 am

As we continue to celebrate 20-year anniversaries of great albums from 1999, one can't help but reflect how different the music industry is today.

For instance, instead of purchasing a physical copy of an album from your go-to music chain, nowadays audiences primarily consume music via streaming services like Spotify or Apple Music. And if they want to hear something new, they simply turn to computer-generated algorithms that can recommend what you might like based on what you've already listened to. Artists, meanwhile, can simply upload their music straight to streaming services, effectively cutting out industry gatekeepers and middlemen who once offered exclusive access to distribution.  

But just because it's easier to hear and share music with the world in 2019, that doesn't mean it's become simpler to write a great song or keep people's attention.

That's where A&R—which stands for "artists and repertoire"—is still highly relevant. An A&R team's goal is to not only bring in the talent to a label or publisher, but to also help the artist develop their sound, find new collaborators and make sure they have all the tools and support they need to continue to succeed.

We spoke with seven women working in A&R-related roles across labels and other music organizations to learn about what A&R looks like in 2019, creating safe, fairer spaces for women in the music industry, helping artists capture audiences' ever-waning attention, and why, even with streaming dominating the industry, their jobs are more important than ever.

Artists Matter, And A&R Does Too

One thing is clear: With an abundance of choice comes the danger of oversaturation. When A&R professionals step in, they help artists navigate details of the industry and make sure their voices cut through the noise.

As Latoya Lee, VP of Creative Services at Atlas Music Publishing (which has offices in the musical hotspots of New York, Los Angeles, Nashville and Atlanta) puts it: "More so than ever the market is very oversaturated, and I think we're in this space where everyone thinks they're well equipped for everyone's job and that's not the case… most of the time it's the team behind that person that really helps you stand out."

Meanwhile, Taylor Lindsey, VP of A&R at Sony Music Nashville, explains how the shift in country music, where more now performers are also songwriters, has moved the focus of their work to encourage more creative collabs. "I think that where before A&R was really just about finding songs and giving them to artists now it's more of an opportunity for us to help go 'okay, here's a writer that you haven't thought to write with yet. We need to get you in a room with them,'" she said.

Stephanie Wright, who also works in country music as the VP of A&R at Universal Music Group Nashville, made the same point about the shifts in country. She added that A&R "is a different process for a new artist or one that is three or four albums in, then it's more about how they're staying relevant."

Gelareh Rouzbehani, CEO of Rouz Group, an A&R and artist management company she founded in Los Angeles after her time working on the label side, speaks to the vital role of A&R within the greater structure of a label. "I think A&R is the nucleus of the record label; without the right song, the right music, you don't really have a product to push, and other departments can't do their work. I think it always starts with the music... and then from there we build on."

Allison Jones, SVP of A&R at Big Machine Label Group, another major Nashville label, echoed this. "A&R is the funnel through which music gets sent whether it be to a record label or a publishing company or to an artist directly. The term artist and repertoire means the artist and the repertoire of songs that they sing. So as long as there's music there has to be someone that is going to make sure it gets funneled to the right place."

She continued, highlighting that even as the digital music era makes music discovery easier, it is still important to have an A&R team focused on finding the gold. "I think now more than ever it's really key to have that front line of A&R that's scouring all those [music and social media] platforms, in addition to the good old fashion meetings and the good old fashion going to shows and showcases," Jones added.

Data Helps, But It Can Only Reveal So Much

Speaking of the digital music age, sometimes when an artist's streaming accolades are shared, it can sound like someone reading random numbers off a spreadsheet. But with some context, streaming numbers and other data can show us a lot and help an artist and their team test out what resonates with listeners and what doesn't. As several women pointed out, streaming numbers come from real people listening to your music, which is, of course, important to pay attention to.

Everyone seems to agree that while looking at various data points available across streaming and social platforms can help an artist and their team make more informed decisions, it is important to take it with grain of salt and balance it with the irreplaceable gut instinct. Barbara Sealy, who is the Managing Partner at SB Music Management in Los Angeles, pointed to exactly that.

"Data is hugely helpful but it could also be a hindrance. Data can tell you what's popular now, but not necessarily tell you what's good and that's where you have to have go along on gut instincts. I have to really take that data and know how to break it down, but also know how to balance it," Sealy says.

She points to different ways you can look at data, like comparing streaming numbers for songs before and after an artist tours and to dig into website data to see where people are listening to their music, as they should be touring there.

Quality Always Matters

While the current musical landscape may make it easier for artists to share music and potentially snag a blip of listeners' attention with a viral moment, as Wright points to, they still need to be ready for this moment, and to have what it takes to keep their attention. "Attention comes quicker; streaming gets your music out and exposure can come fast, but they may not have been prepared for it."

She added that as someone working in A&R, "With the vast amount of music that is out there now, I think it's going to become important, as far as A&R goes, to really suss out what things are authentic and have that true artistry about them, that will have lasting power."

Wright continued, "You want to invest in the long haul…[to ask yourself] how do you get the consumer the authentic things that they're going to want to follow and to continue stay engaged with?"

Rouzbehani underscored the power of quality music. "I think music is cyclical, and it comes in waves. I'm a firm believer that great artists and quality products will always win in the end. I hope that we continue to work toward elevating those that are actually putting out amazing bodies of work," she said.

Sealy echoed this as she talked about the difficulty she has seen some of her artists face that don't fit neatly into genre boxes. Even though it may take time, she firmly believes that in the end, quality music will always see its time of day. "When good music comes out, everybody will absolutely support it. And we've seen that time and time again," she said.

A&R Is Still About Opening Doors...

Ashley Calhoun, VP of A&R at Pulse Media in Los Angeles, spoke to the importance of opening the door for others to help continue to create a more equal playing field across the music industry.

"I think everyone who's in a position and who has the ear to the executives and consultants that make those decisions should speak up. I think that's super important because if we don't say anything about it, nothing's going to change," Calhoun explained.

She continued, emphasizing the importance of practicing what you preach. "We just really have to have each other's backs because if we don't, we can't expect men or someone else to. Even though there's a lot of great men that really support this vision, we have to just be proactive."

…To Keep Moving The Music Industry To Be More Inclusive & Fair

Lindsey said that while she is proud of the many female artists on Sony Nashville, she and her colleagues recognize that representation in country music is an issue. "It's definitely something that we're paying attention to and we are pushing harder and we are pushing back at because there are female artists in town that deserve to be here."

She added to this point; "I would really love to see more diversity especially in country music…There are so many great artists out there that really kind of don't necessarily fall into a genre. They have country sensibilities or they might have some pop melodies, or they have pop sensibilities and country lyrics…So because of those things I think that it would be really great just to see country open up a little bit more and have more diversification."

Lindsey also stressed the importance of the music industry as a whole coming to a decision as to "what the fair and just compensation needs to be for songwriters and artists across the board," an important point which came up in all of the conversations.

Lee shared her biggest hope for the industry is to see "more black women in positions to make decisions." She continued, underscoring what she sees as her role to help make this happen.

"And A&R more so than anything, because we have lots of women in marketing and lots of women in promotions and radio, and we have lot of women in publicity and those positions, but we don't have enough black women in A&R. That is very important to me, because that's going to be the defining moment in my career, being able to say that I molded the next generation of young women music executives, but also young black women executives."

Like Lee, each woman we spoke with clearly saw a key part of their role in A&R as not only opening doors for the artists they work with, but for other women looking to get their foot in the door on the other side of the music industry. They all spoke of who helped champion them to get their start in the industry, with several pointing out they didn't have female mentors to work with or look up to on their teams. This is why they see female to female mentorship as another important part of their career.

The Importance Of Female Mentorship

Sealy emphasized the importance of making the time for other women, even if it's just a few minutes to answer a few questions. "We all need to be talking to each other…And mentoring is really, really important…We really need, as women, to stop and make a little bit of time for that next girl coming up. Even if we've kind of got to the top of where we are, we need to ensure opportunities are there for others, and especially create an opportunity to be that woman mentor."

Each of the women echoed the importance of mentorship and dialogue in some way during our conversations. Rouzbehani eloquently summarized the importance of empowerment and encouragement.

"I think it's so powerful when women come together," she said. "We've seen it happen time and time again in history, and in the industry now we're seeing more of it, and it's really making an impact. Younger girls, whether they're on social media or they see if from afar, they're a part of this, I think are influenced and inspired by that."

Jain On How Coachella Helps International Artists, Honoring Miriam Makeba's Legacy & More

Ericka Coulter

Ericka Coulter

Photo: Bre Jones/Courtesy of TheBasement

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Meet Ericka Coulter, The Inspirational Music Exec Amplifying Rising Talent With TheBasement

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"I see more women being empowered, more women being highlighted. I see different types of artists being signed that usually would be stereotyped. I just love it," Coulter told us, reflecting on the changes she sees happening in the industry
Ana Monroy Yglesias
GRAMMYs
Jul 2, 2019 - 3:52 pm

Kansas-born, L.A.-based music executive Ericka Coulter is one of those magical people who connects instantly, makes you feel like a lifelong friend and surrounds herself with an incredible crew. Above all, she is someone who turns visions into reality.

As the VP of A&R at Epic Records, Coulter not only represents big name artists such as Rick Ross, she also highlights rising talent with the event series/industry movement she launched in 2017, TheBasement. Her vision is to help connect emerging talent with what they need to keep growing—excited fans to support them, a label to amplify their work, a manager to rep them, a cool brand to partner with—and to offer them a vibey space to share their music.

Right before the doors opened for the June edition of TheBasement's artist showcase event series, Ericka sat down with the Recording Academy to discuss the spark that started it, how she stays grounded while always moving, her best advice for young artists and music professionals and more.

After the conversation, the doors opened and the exposed-brick space in downtown L.A. quickly became packed and bustling with energy, as the city's hip music creators, professionals and most in-the-know fans waited for the first artist to take the stage. The events take place, popup-style, in different spaces around the city and partner with an exciting mix of music companies and other brands. The June event celebrated Black Music Month and the BET Experience, featuring a stacked lineup of AWAL artists from their new Urban roster.

TheBasement June 2019

Attendees at TheBasement June 2019 | Photo: Bre Jones/​Courtesy of TheBasement

When did you first discover your calling for working in music?

I'm from Kansas, so I grew up listening to gospel music, and that's really where it started. Like, okay this is what makes me happy. I love to just be around it. But when I came out to L.A., I went to school for fashion and got a degree in fashion merchandising. I loved what I was doing in that, too, but my calling was always that I want to just be in music. I want to put together products. I want to close deals. I want to help people.

At one point I was trying to be an artist and had a couple of sketchy managers, let's say, that weren't the best. If anything, that made me want to go harder to be that person that, if people ever cross my desk, they wouldn't have to go through those things.

But as you get into this, you learn some things are out of your control. It's a process, and not everything works out exactly how you want it to. But if you know that your intentions are good, that's what keeps you sane. And it's like, you know, I know where my heart was. I know why I did it, although it may not have worked.

Did you have any mentors along the way that made you feel like you were on the right path?

Oh, absolutely. I got to work at Interscope during some of the most amazing moments. When Lady Gaga was discovered and Mary J. Blige, Keyshia Cole, Black Eyed Peas and Eminem were all fire. It was just so much all at once, and to see what Jimmy Iovine did, even building Beats.

To see what Beats turned into now, and for Apple Music to be so influential in today's culture, it's incredible. So to see him do that, and when I started I worked for a guy named Step Johnson who was the President of Urban Music. I can honestly say that from him, I learned how to be in this and also know that you can get out at some point, but leave a legacy. And I think that's the most important part, like "what are you doing this for?"

When I was working on Rick Ross' last album, Rather You Than Me, we were in the studio one day and JAY-Z was there, and he was talking about his last project, 4:44. He was playing a couple of records before it dropped and the main thing that he was saying was like, "Yo, you can't be in this if you're not doing it for something." Like as much as we love music because it makes us feel good, what are you doing it for? What are you wanting to leave behind? 

And after that, it just made me look at things differently, okay, why am I going so hard? That's what led to TheBasement. 



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Learning to smile a lot more #Lifeisgood

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Can you speak a little more to the beginnings of TheBasement and the spark that lead you to starting it?

I wanted to create an environment for people to network, vibe and discover. A room where artist can meet the right people to help them move forward. So maybe you leave TheBasement Series with a record deal out the gate. But maybe you leave with a manager, attorney, producer or writer; something else to help you move further. That's what made me be like, "Okay, there's a need for this."

I found my first sponsor, and then our first venue, a photo gallery. And that's been our thing, to find venues that people wouldn't regularly perform at, something that didn't feel so familiar. Somewhere you can feel inspired, and learn about new artists. Where is it at that you feel like you're discovering something, that you don't feel like it's familiar or that you know what it's going to be. You want to go and feel either inspired or like "I didn't know that person was that dope and I'm going to come back." Or "Now I'm going to go look up that person and start listening to their music." That's what I want you to leave with.

Lu Kala performs at TheBasement June 2019

Lu Kala performs at TheBasement June 2019 | Photo: Bre Jones/​Courtesy of TheBasement

What are some lessons you've learned along the way? I'm sure it's one of those things that keeps going, but could you speak to TheBasement's growth a little bit?

This was literally an idea that has not become a movement that I feel is my responsibility to keep it going.

The one thing that I had to learn is that every conversation is not going to turn into that deal that you wanted it to turn into. But you can't let that stop you. There's been moments where I feel like other people probably would have given up. Where I feel like I'm showing it to you exactly what it is, but you're still not getting it; but I'm a true believer in that whatever is for me is going to be for me. God is going to make sure that happens, and when that door doesn't open that just wasn't the door that was supposed to be there. And no hard feelings, you know what I mean? It is what it is.

I think when you have that mentality, you're going to make it work. Cool, all right, that person, that sponsor didn't come through right now, we're going to get this sponsor, and we're going to put this together. Or you know I've been blessed to have a team of kids that literally we can take $50 and make it look really good. Sometimes too good, but you know that's what makes you be like, okay I'm not doing it for nothing; there's no way that something this good is not going to get where it needs to be.

I use metaphors for a lot of things, but it's like cooking chicken. You cook the chicken, it starts to look really good on the outside, you might open it up just to check on it, and it might be a little pink inside, that means we not ready yet. So we cooking. And we're going to cook until it's time. When that timer hits off, and it's time to go, people will feel it.

So you have two pretty major jobs; how do you stay grounded when you're always moving?

Right. My faith is strong. My parents are in Kansas City and they've built me up to be strong. And you know, you just never look at something like it was a failure. You always look at it like, all right cool, that just wasn't it. So we're going to figure out the next one, but I have a really good team of friends and a foundation around me that even if I wanted to beat myself up, they wouldn't even allow me to do it. And I think that's the thing, and you don't realize that you really have friends. Because you can have a group of people around you. You can throw a party and everyone will be there, but to have people that you actually call your friends. Like who you invite to your house when you have on no makeup and don't feel like putting on clothes. Those are your friends. You know?

They make me feel secure and even when I am down on myself they'll talk to me like, "You're bugging. Like are you serious right now? I'm not going to have this pity party with you. So cry, get your thug tears out for a couple minutes, and then we back at it again."

As cliché as that may sound I think it's just important. Because everyone in L.A. is always from somewhere different so if you don't have that little core team of people, although we may be from different places, that is your family, it's a struggle. Like I'm not going to lie. Like sometimes, you don't have the balance. I still don't know what the balance is even, but I feel like some days when I can just breathe and be like, "All right."

Sitting with you here right now, usually, I'd be like, "Girl, I can't do this because I got to figure out what's going on in there." But I have to trust my team. And I have to trust that they know that I've got them and they got me.

When you are working on a project like this, where it's something you created from the ground up, how do you bring in people that you know are going to work with your vision and keep the vibes positive?

I'm honest with what our vision is. This is no disrespect, but this is not a talent show, and I think you have to look at it in that way to know what type of talent you want in there, what the vibe is supposed to be. That sets the tone, especially in Los Angeles. That'll make you like, "Am I leaving my house?" Because you know people are in their bubbles and I think when I've been honest with my team about that, and then they've seen the results of it, that people need motivation and inspiration as well. For my team, some of the people I don't even get to see until the next Basement, because we're all so busy, but I can count on them. For them it's like, "TheBasement's coming, I have something to look forward to. I have something that I'm a part of that's growing."

I always tell them, "This is not just for me; this is all of us. If you're a part of this team, and you're going into an interview you tell them, I'm a part of TheBasement. I'm your reference. Use me as much as you can so that I can help you or it will be pointless." I think that's why we've been able to form the talent that's coming on the stage, to the team that I'm building or even the sponsors that are coming on now. Because there are brands out there that want to support the emerging artist.

Yes, you need the artists that are already established because that is something that is a part of it as well, but we also got to help these acts that like don't have it yet, that are really, really talented, and they just need their moment. So if they can get their moment on TheBasement stage, I did my job, and that makes me go to sleep at night. Knowing I may not have been able to take over the world, every project might not be perfect, but at least I was able to give somebody some hope, because hope is what keeps us going.

What's your favorite part of your jobs?

Favorite part, I would have to say, from the A&R side of things, is when you get to hear the finished product and everybody else agrees on what you heard. Because sometimes we can move with our hearts and then sometimes you've got to move with your ears. So it's exciting to get the finished products of that part of it. For TheBasement, it's exciting when these artists get off the stage or they hit me up, like, "That was a moment for me, E. Thank you." And some of them have already been performing on stages, but I think it's just such a home kind of feel, like it makes you feel like you're at a party with your friends. And you get to just be free, be yourself, rock out and not overthink it, and that's what this is supposed to be.

Is it important to you to have TheBasement be a safe space, sort of a container for creativity? If so, how do you foster that?

Yeah, it's definitely a safe haven for creatives. And even for the people that work within the industry that come in here. For them, they're like, "Hey, there's a lot of people in there that are from different industries, but I don't feel like I'm at an industry event. I feel like I'm at a kickback." And that's when I was like, how can I make one room feel like Atlanta, New York and L.A. all at one time? I get a vibe every time I go to Atlanta. When I go to New York I feel like I can take over the world and when I'm in L.A., it's like, "All right cool, I'm vibing, I'm chilling." That's what I feel what we're creating. I'm still adding on to it, learning every show. There's always something to be like, Okay, we could have done that better.



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What's your biggest hope or vision for TheBasement, in the next six months or year?

To get it on the road, that's been my biggest thing. I want to get this to New York, Atlanta, Toronto. Also, we're working on a lot of content pieces that we're going to be launching very soon and I want to make sure that we get that out too because I don't want people to think that this is just a showcase. It's a movement; I want it to be a creative agency that literally, whatever you need help with we're here to help you, we work with everybody. We're not working against anyone, this is not for us to be the next thing and next that. We want to be that thing that's not there and actually be the glue for a lot of people.

I feel that. I think there's kind of two lines of thought, one is when there's someone at the top, no one else can be up there. That feels counter-intuitive to me, especially if you are living your truth, being honest and helping other people along the way. Do you see that in the music industry, that it's a bit more like, "This is THE person and they're the best"?

I don't want to say it's the music industry. I just think it's industries in a whole. We as people tend to put things into boxes and it's not until you step outside of that box for people to see you. It happens everywhere, not just in entertainment. That's where you have to live your best life and color outside the lines, be humble and be the best you.

I think we all are going to get into coloring outside of the lines. Not only giving people opportunities but also taking risks on ourselves. We get so caught up sometimes in being in one spot and being comfortable, but comfortability is not necessarily going get to the success that we need it to.

"I think we all are going to get into coloring outside of the lines. Not only giving people opportunities but also taking risks on ourselves."

What is your biggest hope for the music industry in the near future, the biggest changes you wish to see?

I think it's happening. I see more women being empowered, more women being highlighted. I see different types of artists being signed that usually would be stereotyped. I just love it. You know, I feel like there is no genre, because all genres are all pretty much going together. You got country music and hip-hop doing records together. You have people redefining themselves doing jazz or doing R&B; to see what things are evolving into is exciting. I know about more R&B singers right now than I've ever known in at least the last two years. There's more festivals, which means more visibility for new artists, which is incredible. Yeah, I think everybody just got to start having fun and not taking this sh*t too seriously. We making music, it's supposed to make us happy and free, and that's all I want.

How do you believe women who work in music can help support each other and other less historically represented groups in the industry?

I think for things like that, it's hard to be like, "Oh, we got to all come together and we got to do this." My girlfriends and I struggle to see each other in person because we're all working so much. But we check in on each other and encourage each other. Sometimes, just sending somebody a text to say, "Hey girl, I don't know what you're going through this week, but I want to let you know that you're going to be great. And whatever it is, we're going to get through it."

Those little things, even if it's a stranger. I might want to send you a text one day and be like, "Just letting you know that today is going to be the day and you're going to be great." I think it's about being more encouraging and also being more vocal if we don't know each other, to reach out to each other and just be, "Hey girl, hey!"

Starting TheBasement, I've met some of the most incredible women in this industry, I didn't even know what they did and they didn't really know what I did, but now like I consider that person a friend or a colleague. I've had more women hit me up and be like, "Hey, just checking on you." That goes a long way because sometimes we get so caught up in this and we'll run ourselves down and we don't check on ourselves or each other. I think that that's important, those little words of encouragement, and I think we're going to get there. And yes, you'll see more things of women coming together and doing things, but I think it starts with just a little gesture of "Hello, how you doing, you need help with anything?"

It's really easy to get caught up in the "I'm so busy and don't have enough time." But you never know what the other person is going through, and that little encouragement could be just what they need to hear to do the thing they're afraid of.

I feel like they can do it. I hope seeing this makes somebody be like, "Okay, I don't have to be just one thing. I can be a lot of multiple things."

Pharrell reinvents himself every year! I mean he's the G.O.A.T., but to see this man take it so many different places, that's my motivation to be like, "Oh I don't need to stop, I just need to be like smarter in the moves that I make and just make them make sense." And have fun while I'm doing it.

What's your biggest piece of advice for young women interested in a career on the business side of the music industry? And what about for an up and coming artist, someone that just isn't really sure how to get their name out there or how to meet the right people?

For that young girl, she has to be fearless, and she has to understand that sometimes it's not going to be that full plan on the vision board just in that order, but you will cross out all those dots, know that.

For that new artist, if you are in a little town somewhere in your bedroom making music, and you've graduated from school, it might be time to move. It might be time to take that risk and go to L.A. or New York or Atlanta. That place that you've been like, "Maybe I'm not ready." Well maybe you are ready, and maybe when you get there you might not be, but at least you did it.

I always tell myself this, "I can go back home. If this sh*t don't work out, my mom will gladly be like, "It's okay; we're going to figure this out." I think that's the beauty of it, just knowing that you can go back home. And if you can't go back home, that's going to make you work harder.

And I think it's also being honest with yourself. If you're an okay singer, let's go to being great, let's get the proper training to do that. Don't just settle to be an okay singer. There are artists like H.E.R. who didn't rush the process. She trained herself, so that now, she's on a roll, because she practiced to be great at whatever it is that she needed to do.

Beyoncé practiced to be a beast. So I think you have to use things like that to be like, "Okay, I can't just be mediocre at it, I've got to be great." And that takes time. It goes back to the chicken. We're cooking, so let's just let it bake, let it get all ready and marinated, and then we'll be ready to go.

Why A&R Matters In The Streaming Era: 7 Women Share Their Experiences

Kelsea Ballerini

Kelsea Ballerini

Photo: Image Group LA/ABC/Getty Images

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TrailBlazer Country Music Festival Lineup: Luke Bryan, Kelsea Ballerini, Dierks Bentley & More

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The first edition of this guitar- and twang-filled festival set in the gorgeous New York Catskills—taking the place of the former Taste of Country Fest—will take happen on June 12-14
Ana Monroy Yglesias
GRAMMYs
Dec 5, 2019 - 5:35 pm

Today, the newly revamped and renamed TrailBlazer Festival—formerly Taste of Country Fest—announced the lineup for its country music and camping event, taking place in the New York Catskills on June 12-14, 2020. Past GRAMMY nominee Dierks Bentley, current Best Country Album nominee Thomas Rhett, Luke Bryan will headline the three-day event.

Past GRAMMY nominee Kelsea Ballerini, along with Blanco Brown, Gabby Barrett and Clare Dunn will also perform at the fest.

HARDY, Jon Langston, Dylan Scott, Matt Stell, Cole Swindell and The Cadillac Three were also revealed on this first-round lineup, with more artists to be announced at a later date.

"We're happy to bring y'all a brand new festival experience at the same location you know & love. On the grounds of the former Taste of Country Music Festival we're bringing you two stages, 30+ artists and more," TrailBlazer says, via their homepage. Taste of Country was first launched in 2013 at the same location: Hunter Mountain Resort in Hunter, N.Y.

The name change follows an earlier purchase by Live Nation, who adds the event to their growing catalog of country-focused festivals, including Watershed in George, Wash., Faster Horses in Brooklyn, Mich., Seven Peaks in Buena Vista, Colo. and Tortuga Music Festival in Ft. Lauderdale, Fla.

Tickets for TrailBlazer Fest go on sale next Friday, Dec. 13 at 10 a.m. ET; more info at TrailBlazerFest.com.

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TikTok

TikTok

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What Music Goes Viral On TikTok?

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Got bass? Here's how songs go viral on the wildly popular new app and how musicians can take full advantage of the craze
Ana Monroy Yglesias
GRAMMYs
Nov 6, 2019 - 9:31 am

By now, you've probably heard Lil Nas X's "Old Town Road Remix" a few times over. The song's viral moment—culminating on its record-breaking run on the Billboard Hot 100—was inescapable for the better part of 2019.

Yet before the young rapper rode his way into the spotlight, he uploaded a clip of the original song, along with a "challenge," to the popular social media video app, TikTok. Users, the bulk of whom are Gen Zers, can upload and view 15-second videos set to music, with the song title/artist displayed.

Consequentially, an ever-growing handful of catchy songs have gained fame within the app and, in the case of Lil Nas X, Lizzo (her #DNATest Challenge recently helped catapult her 2017 bop "Truth Hurts" to the charts) and a few others, in the greater popular culture and pop music landscapes. A recent story on Haulix's blog looks at last month's biggest hit songs on TikTok to unpack the trends behind the trends, to help more artists take a shot at getting their viral moment.

Haulix points to several key elements of songs that have gained traction on the app recently, highlighting the importance of "memorable lyrics," especially ones TikTokers can act out in their videos, as well as a danceable beat and a bass drop.

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Since the video clips can only be 15 seconds long, the app only plays a short segment of the featured song. The audio content of TikTok videos is the song itself and not the user singing, rapping or talking over it, meaning songs with clever or quotable lyrics tend to be the most popular.

While some tracks that make waves on the platform may be fun and catchy and continue to gain traction in its whole form on streaming platforms and the like, what is most important in successful TikTok hits are the catchy bars that hook people in and allow them to use their bodies and facial expressions—from dance moves, costume changes, creative makeup and more—to put themselves in the song.

Read: Lil Nas X's No. 1 Run Began With TikTok, Now The Music Industry Is Taking Notice

As Haulix pointed, "The greatest songwriters from previous generations made an impact on culture with songs and albums that told elaborate, sprawling stories of the human condition. Some of those tracks may find an audience on TikTok as well, but most users are seeking out 4-16 bars that make an immediate impression on listeners. Lyrics that may seem silly or outright ridiculous to average music consumers often take TikTok by storm."

They point to user @schmidtyqueen's video to Yung Gravy's song "Magic" about as an example of how she used his outlandish lyrics ("Heard my voice now she trying to have whoa. / Flexing ain't too complex, baby./ Ala-ka-f***ing-zam") to create a cute, engaging and simple clip.

The article also points to the popularity of rap, EDM and anything with heavy bass on the platform—anything with a catchy trap beat or a big bass drop is likely to get users attention, and find them inspired to try out their dance moves in hopes of gaining other users attention, likes and shares.

Haulix includes a 7-minute compilation video of some pretty fun TikTok clips set to bbno$ & y2k's viral hit "lalala," which features a simple trunk-rattling bassline and nonsensical lyrics with a humorous opening line ("Did I really just forget that melody?"). The video currently has over 39 million views on YouTube alone and found its way to the top of Spotify's Viral 50 chart in June.

Similar to bass drops, drastic beat changes or chord shifts (not unlike the journey of Travis Scott and Drake's GRAMMY-nominated 2018 No. 1 hit "SICKO MODE") can also inspire creative videos and viral moments on the platform. Haulix points to Kesh Kesh's "Vibin" as a popular example of this, where the beat itself (the only words in the clip are "One, two, three / let's switch this up.") leads, switching from banjo-led chords to a spacey G-funk beat.

In summary, if you're trying to give your music an extra push, make sure it's a trunk-slapper, one that could get the club going up or at least has funny, catchy lyrics, you can try your luck and viral fame and upload it to TikTok. It's always time for new challenges!

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Felly

Felly

Photo: Christian Diaz

News

Felly Talks "Heartstrings," Vulnerability On New Album & Learning From Icons

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"I think it's all just getting closer to your true self and your true soul, which I think has a godly element to it," the young L.A.-based rapper/singer-songwriter recently said of his musical journey
Ana Monroy Yglesias
GRAMMYs
Oct 29, 2019 - 2:59 pm

24-year-old Connecticut-born, Los Angeles-based artist Felly is on a roll. Since his first mixtape in 2014, he's released at least one major project a year, culminating in his debut studio album, 2018's Surf Trap. He's gathered a growing fan base along the way, with his laid-back demeanor and experimental approach to surf-rock-drenched, at-times-jazzy, hip-hop.

Today, he dropped a buzzy new single, "Heartstrings," electrified by the otherworldly guitar riffs of 10-time GRAMMY-winner Carlos Santana. The music video was directed by Felly himself—his directorial debut—and shot by Christian Diaz, primarily in the serene desert of Joshua Tree, Calif.  

Ahead of the shimmering new track, the Recording Academy caught up with Felly over the phone to learn more about the magical collaboration with Santana, getting closer to his true self, being human and more.

So you're about to drop your new song "Heartstrings" featuring none other than Carlos Santana. What are you most excited for about sharing this new song?

I'm just ready to put out new music to the people because I have been making all this amazing stuff, and have been listening to it over and over. And my friends have been hearing it, but everybody [else] still references my old stuff. So I want to let people know it's a new day.

I'm just happy to reinvent myself again, and to be an artist and be in this world where I'm able to do something like that. It's kind of a purifying feeling, and it's just fun.

You explore a lot of different sounds across your already-extensive music catalog. How you would summarize your musical journey and evolution through the different projects?

I think it's all just getting closer to your true self and your true soul, which I think has a godly element to it. The closer you can get to being your truest, purest form of yourself, it's a beautiful thing for the world to see, but also for you to feel.

I've released a lot of projects where I've sort of been on that search. People admire that because they can relate to that feeling of searching themselves, and trying to discover themselves. To know that somebody else is going through that same journey is nice. It's comforting, it's inspiring and it helps us to relate to each other. With this release, I just feel like I have gotten a lot closer; with how I've been living my life, and things that I've cut out of my life, and things that I have added into my life.

I'm honing in on myself, so each project kind of shows that. When I listen back to all the projects, I'll be able to identify certain areas where maybe I'm out of pocket, or confused with myself, or who I want to be. But that's all part of it, and is the current state of it, too. Everything grows.

Going back to "Heartstrings," I'm curious how you connected with Carlos for the song, and what it was like working with him in the studio.

We had been looking for someone to get on that record because we thought it's a super strong record, and I previously hadn't really been collaborative with anybody else. Just out of not being in a position to, not really knowing people, not really having the credibility yet. So getting to the point where people actually want to get in with you, and work with you, that's largely because music's better. It was sort of getting to that time.

So we were searching for someone that could complement the record. And I felt like, unless it came organically, it would sound like a ploy or whatever. And you see a bunch of these ploys that people do to get noticed by a Spotify playlist, by curators, or just kind of to get press. Those all feel very stunt-y to me. I don't want to be one of those artists that just does stunts, because I feel like those are here today and gone tomorrow.

But yeah, when the Carlos thing happened, it was completely organic. He had heard the record through someone at my label sending it to his camp, saying, "Hey, this is Felly's new record, what do you guys think of it?" He loved it and wanted to be a part of it. And he didn't care if I'm not as big as him or any of that stuff. He connected with the actual music; the soul and the personality of the record.

So meeting him and feeling that, and just seeing that come to fruition, reminded me that, you know, real sh*t is still alive. True personal connection, soul connection is still alive. You could get persuaded differently being in L.A., or being in this industry, that it has to be some fake ploy, and you have to do sh*t like buy followers, plays or features.

The idea of buying a feature from a rapper kind of irked me, because I know my fans know me as someone who's real, genuine and upfront. Something from Carlos Santana that came genuinely, and he just so happens to be probably the coolest musician on this earth, and the best person I could imagine getting a feature from. It's sort of like God showing me that I'm right to feel how I felt, and blessing me for having patience and stuff.

What was your biggest takeaway from seeing him at work and collaborating with him?

I think I aged like 60 years of knowledge in just that one session. Honestly. They pretty much gave me the torch, and kind of said, "Hey, you're next up. And in this journey, you're the guy who's going to carry the torch for us." This is surreal, but it was really the type of sh*t that they said to me. And that, combined with different rock star knowledge and them treating me like I'm going to be a rock star, was really cool.

They just treated me as an equal, which is really awesome to see. Santana sees soul value in people and he's just super connected to spirituality, and kind of taught me about those types of things. That if you put energy, compassion and clear intention into your work, it will have that connection.

He did this gesture where he said, "It's like this." And he looked up at the sky, held his hands out, brought it back into his heart, and then extended his hands out to the people in the room. And he kind of took energy from the sky and gave it to the people in the room. And I was like, "Yes, that's exactly what it's like."

And so he taught me about having your mind step out of the way, and to approach things as if you've never heard them, or never done this before, because that's when things can get stale and mundane, or you can kind of let your ego run its way. But if you do the things that he is talking about, you'll create something fresh and new, and people will resonate with that. When we made the record, I think he kind of recognized that, and that's why he wanted to be a part of it.

Felly & Carlos Santana

Felly & Carlos Santana | Photo: Christian Diaz

If I'm not mistaken, this song is going to be the lead single for your upcoming album. I was curious to know what you're going for with this next project as a whole?

Yeah. It's sort of an album about coming home to oneself, you know, feeling oneself in all the true colors and just getting closer to them, cutting out the bullsh*t. It's a very raw project that soul is the carrying factor through it. Soul, emotion and just truth. And it's not trying to be flashy by any means. You'll get some of the flashiness on these singles, maybe. But it's something that can make you feel human again. It's called Mariposa, which means butterfly in Spanish, and is about becoming one's true self, taking a new form.

A butterfly goes through many stages before it can actually branch out and fly, be the beautiful creature that it is. It's metaphoric of the time I'm going through. And I kind of felt I've gone through the cocoon, been in the dark and been in forms that I wasn't sure if I would make it to feel like a true form of myself. Luckily, I do feel that way.

What did it feel like for you working on this project versus the last one? Did it feel sort of cathartic to write these songs?

I wrote half of it when I got back from tour, where I was super depressed and depleted. I had given all my energy to the world and didn't feel any satisfaction from it, and was in a very dark place. And so you have that side of the album. But the past few months I've been working on it, I've been adding the element of, you know, light and love.

And so it has a healthy balance of dark and light, which I think life and the spiritual journey is reminiscent of, especially the metaphor of a butterfly. It kind of has to be in the dark for awhile before it can fly. And so I've been adding those elements of love, and just good energy, light, and just been sort of feeling it more in the past couple of months. I'm still etching away at how I want to make it happen.  It was very hard to write some of these songs at first. It's very vulnerable. But then as it got more under my skin, it got really fun.



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Zooming out a little bit, what made you want to go into music?

I don't know. I think it was in my DNA, in my soul and my upbringing in Connecticut. And you know, losing my father and, because of those combinations, of not really having anyone around me. My mom was dating and my older brothers were out doing their own things, so I had like a lot of alone time and thoughtful time. So that led to, "Okay, how can I make something light of this situation? How can I create something?" And so creation, to me, became the base of my life, and sort of how I can transcend a dark moment.

When you were younger, did you have an artist or someone that you looked up to, like, "Okay, like maybe I can be like them; if they can do it, I can too," or something like that?

Yeah, I really liked to listen to Atmosphere. I mean I had many artists, even local artists, and people that I looked up to. I really liked Rhymesayers, an independent record label in Minnesota [that Atmosphere and other indie rappers are on]. And I thought that was so cool that they were able to like be successful, and do their own things, as just kind of random dudes, white dudes who were just like me. That definitely inspired me.

If you don't have people around like that to kind of pat you on the a** to keep going, and to encourage you that you can do these things, a lot of people quit and lose hope in it. So that support, whether you find it, or it comes to you, it's super important to keep it going.

What is your favorite part about life as an artist? And what do you think is the hardest part?

My favorite part about life as an artist is being on my own schedule and being able to do whatever I want. And not that I take advantage of that, but just that I can feel like my time is mine, and kind of create infinite possibilities out of that. That's an amazing freedom.

The least favorite is—I mean, I think everything comes with a balance, so if something's sh*tty in one way, it's going to be good in another. But I think with that freedom comes a lot of responsibility, or overthinking, or stuff that you can just get caught up in, like comparison. I don't really like flying. That's kind of it.

I like your attitude because it's true. Sometimes something can seem really overwhelming, but then you do it and its like, "Man, I did that!"

Yeah, definitely. I mean, my attitude, it's definitely not always like this. Everyone thinks I'm like a super happy, bright dude, but not all the times for sure. I'm human, just like everyone else.

We just talked about it a bit, but I wanted to look more at your influences. Who were your favorite artists when you were a teen?

I really liked a lot of independent hip-hop and a lot of indie music. I'm the youngest of five, I have three older brothers and a sister. So they pushed a lot of different genres on to me. That was a good opportunity because I'd get old-school Lil Wayne from my stepbrother, and then I would get Taking Back Sunday, Hawthorne Heights, harder rock, Rage Against The Machine, from my other brother. And then my sister would show me acoustic music and stuff like that.

So everyone was sort of fighting for "What is Chris going to dig?" But I also had a fusion of everybody else's stuff. It was a lot of Bob Marley. The first record I ever recorded on was at a Universal theme park. You could pay 15 bucks or whatever to record and mine was "Buffalo Soldier" by Bob Marley. I still wish I could find that record. I was like eight and that was my first time in the booth.

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