Issachah Savage, Lalah Hathaway, Anthony Hamilton, and Nazaneen Grant, MD
Photo: Paul Morigi/Getty Images

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10 Vocal Tips From Lalah Hathaway, Anthony Hamilton & More

What we learned about how to sing your best from MusiCares and the Recording Academy Washington, D.C. Chapter's all-star vocal clinic

Nate Hertweck

Recording Academy

May 25, 2018 - 9:15 am

Washington, D.C.'s National Union Building was the place to be on May 16 for anyone interested in maximizing the musical use of the world's first instrument: the voice. Singers from various genres and backgrounds attended to learn more about caring for, resting and protecting their instrument at this vocal health clinic presented by MusiCares and the Recording Academy's Washington D.C. Chapter.

How Do Pro Singers Take Care Of Their Voice?

The clinic featured a conversation on vocal health moderated by singer/songwriter Tracy Hamlin with Associate Professor of Otolaryngology Dr. Nazaneen Grant, tenor vocalist Issachah Savage, and GRAMMY-winning gospel/R&B artists Lalah Hathaway and Anthony Hamilton. The all-star panel delivered a discussion that was anything but clinical, igniting the room into laughter, awe and epiphany as they shared their vocal habits, techniques, secrets, and insights.

For all you vocalists out there, here are 10 amazing insights, tips and tricks directly from the experts' lips.

1. Find What Works For You

Perhaps the most important takeaway from the clinic was that every vocalist needs to find out what works best for them, regardless of the wide variety of techniques out there. As Hamlin pointed out, "What works for one singer may be completely different for another." Savage added, "I cannot stress it enough, it is so super-duper important to really find out what works for you, and the only way you can do that is to know your instrument, and the only way to know your instrument, of course, is to spend a lot of time with it. Practice, practice, practice."

2. What To Eat On Day Of Show

Believe it or not, Hathaway confessed to not eating anything on the day of a concert, saying, "It makes me super sleepy and my reaction time is slow." Hamilton admitted he doesn't do dairy at all anymore, but he needs to eat something before taking the stage, saying, "I don't like to sing on an empty stomach, it just feels hollow." Savage added that he drops half a teaspoon of salt into a glass of water the morning of the show. All three singers revealed they'll have a cup of coffee from time to time, but alcohol before a show is a no-no.

3. The Truth About Hydration

Hydration is always a good idea, especially for the voice. Staying hydrated allows the vocal folds to stay limber and maintains the protective mucosal lining that coats the vocal folds and protects them from the natural friction that occurs during vocalization. "Drinking water is good to hydrate your whole body, but when you swallow, there's this thing called the epiglottis that flips over and makes it so the water doesn't go in your voice box — that's what happens when you choke," said Grant. "So [the water is] not hitting the vocal chords directly. Even when we gargle, it doesn't hit the vocal chords directly. Steam is actually what makes [the moisture] touch [the vocal chords]." She added that avoiding dehydrating substances — such as caffeine, decongestants and allergy medicines — is also helpful.

4. Hamilton's Secret Rider Item

"I chew really, really strong Mentos gum, two pieces right before I go on stage, always. It's on my rider," said Hamilton. When asked if he worries about accidentally swallowing it while singing, the GRAMMY winner said, "I've been holding gum in my mouth since I was a poor little boy who didn't have money for new gum. I can sleep with it," a response that drew a laugh from the room.

5. What Harms The Voice

After running through an explanation of the physical components that make up the voice, including visuals from a scope of the vocal chords, Grant outlined five main things that can harm your voice: misuse/overuse, dehydration, cigarette smoke/pollutants, acid reflux (more on that later), and allergies. She pointed out that one common way singers overuse their voice is when talking on their cell phone. Most people strain their voice and speak unnecessarily loud because they don't have any visual feedback from the person on the other line letting them know they're being heard. "Pretend like the person you're speaking to is right in front of you," said Grant. "[That technique helps] you speak a lot softer and not strain, so that's the trick."

6. Rest, Rest, Rest

How much rest does a singer need? It depends on the person and how they like to unwind. Hathaway, who has been on the road for the past two years, enjoys hanging out with her friends, family and dogs and playing video games to let her body recharge. She also pointed out that singing itself is so natural and fulfilling for her that it hardly feels like work. For Hamilton, cooking a meal, going for a drive, taking a nap, and walking for miles and miles outdoors helps him recuperate. Savage prefers to unplug from the world, especially social media, to rebuild his strength between shows, and he stressed that refraining from speaking is the best rest a singer can get.

7. How To Cool Down

For some singers, taking a moment to ramp down after a big show can make a big difference. "Years ago, when we were in school and we had physical education or gym, after exercise you always did some kind of cooldown, It's healthy to do," said Hamlin. "Just doing a five-note scale on a hum or 'oohs' really softly and it massages the vocal chords." While Hathaway and Savage admitted they don't have any routine, Hamilton joked, "I like to pour a little Jamieson on it."

8. Hoarseness Remedies

Defying convention, Hathaway says ice-cold water helps her voice when she feels hoarse. "It doesn't work for me to drink room temperature water during the show," she said. "Whatever it is that works for you, you have to find that, because your instrument is so unique, and once you find out what it can do, you're on your path." She also said that speaking on the day of a show works well for her as a warm-up, and shared tips on battling hoarseness she's learned along the way. Apparently, the singers in Take 6 wrap a towel full of ice around their neck to draw out the swelling, which helps with hoarseness, while Al Jarreau once told her to always work out on a show day to get the blood flowing.

Issachah Savage and Anthony Hamilton
Photo: Paul Morigi/Getty Images

9. The Secret To Avoid Acid Reflux

Grant explained how acid reflux occurs and how to identify it: Heartburn is a tell-tale sign, but even a bitter taste in the back of the throat or compulsive throat clearing can be signs. She recommended avoiding coffee and alcohol, not laying down for two to three hours after eating, and staying away from certain acidic foods, such as vinegar and spicy sauces. Hamilton also shared an insider's tip on how to use gravity to help with acid reflux. "It's important to lay on your left side because your stomach hangs that way, and it helps to keep the acid down — head elevated and laying on your left, because I've been dealing with that for 20-something years."

10. At The End Of The Day, It's "God's Business"

"Music is a ladder for the soul," Grant said to the singers onstage and in the audience, quoting the writings of the Baha’i Faith. "You guys are the ladder makers." While all singers are looking for the key to unlock a great voice, the panelists all agreed that, when it's all said and done, it comes down to an intangible "it" factor. "I don't believe that having an amazing sound or an amazing voice is something that can be taught," said Savage. "You can train … but the difference in having a great voice is God's business."

Catching Up On Music News Powered By The Recording Academy Just Got Easier. Have A Google Home Device? "Talk To GRAMMYs"

Tracy Hamlin and Elise Perry

Photo: Shannon Finney/Getty Images

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Beyond The Beltway: A Closer Look At Washington D.C.'s Vibrant Music Community

Members of the Washington D.C. Chapter Executive Board weigh in on what makes the city's scene sizzle and how they are helping create more opportunities for local musicians

Sarah Godfrey

GRAMMYs

Jan 7, 2019 - 12:47 pm

With a rich history and a bright future, the Washington D.C. music scene is truly alive. In fact, new music venues, both traditional rooms and more eclectic spaces, have been flooding the Washington D.C. area of late. Want to hear a band play inside of a pie shop? No problem. Require a sommelier as part of your concertgoing experience? Sure thing. Want to see a show from the inside of a geodesic dome turned giant snow globe in the middle of summer? No sweat.

An exact count is difficult to come by, but earlier this year, The Washington Post estimated roughly 24 new music venues have opened in the region, which includes part of Virginia and Maryland, since 2013. That’s in addition to existing venues—a mix of stadiums, arenas, concert halls, opera houses, amphitheaters, clubs, warehouses, at least one converted Baptist church, and a slew of coffeehouses, wineries, and breweries that also serve up live music.

The region’s penchant for creating a music venue out of pretty much any interesting standing structure is one of the things that makes the scene in D.C. stand out, says Carl “Kokayi” Walker, artist, producer, educator, and current board trustee of the D.C. Chapter of the Recording Academy.

“We’re not all about policy and politics—we’re about creativity,” Walker says. “From intimate spaces like Songbyrd… to the Anthem when you want to see bands get crazy, to alt spaces, I think those are the things that make a difference in the music community here… This is the place where punk rock originated, the place where our own indigenous music, go-go, comes from, and a place we strive to make sure other musicians live up to their musicianship.”

Carl "Kokayi" Walker

One of the goals, and challenges, facing the leadership of the D.C. Chapter of the Recording Academy is making sure D.C.-based musicians have the resources they need to benefit from changes in the area’s music scene and ensure that homegrown artists always have a platform.

While growth and diversity of performances in the area is a boon for listeners, the impact on area musicians is trickier to parse. The opening of new venues doesn’t always translate into more performance opportunities for locally-based artists. And, amid all the grand openings have been a slew of closing parties for beloved local musical institutions that once served not only as show locations, but places for artists to gather. How does a scene that spans dozens of genres, covers three states, and now plays out at a dizzying number of venues stay strong and connected?

“My goal for the D.C. Chapter of the Recording Academy is really to create a situation of engagement among the professionals here,” says Elise Perry, producer, composer, arranger, film/television director, and vice president of the D.C. Chapter of the Recording Academy. “Whether it’s an entire art and music symposium or just some form of showcasing artistic talent and performance specifically, the more things we do to engage people, the more it helps the community and the more we can be seen as an engaged, connected community.”

Elise Perry

Perry, who grew up in D.C., says that a childhood spent performing with the DC Youth Orchestra and playing “desk drums,” to recreate the beat of popular go-go groups, meant “musical experience was absolutely part of what D.C. had to offer me.” As a result, she works to “insist that there’s recognition of the music community here and that there are spaces for our artists, so we can continue to make sure people are being seen and heard.”

Singer, songwriter, music educator, record label owner, and Recording Academy trustee Tracy Hamlin says she sees her role in the D.C. Chapter as working with her fellow board members to “engage, connect, support, and educate” members of the D.C. music community.

“When I first joined the chapter, I was an inactive member,” says Hamlin, who has been on the D.C. board for seven years. “But I said to myself, ‘You need to come closer. You only get out of it what you put into it.’ I encourage [everyone] to come closer.”

Tracy Hamlin

At a time when the region and its music scene are growing and shifting, Hamlin is pulling people in and building community among artists by creating unique opportunities for performance and connection. In October, she held her inaugural Sweet Jazz and Wine Festival, an event with a charitable component—it raised funds to give two artists from low-income families a year of private instruction in their desired instrument. In a region where rents and the cost of living continue to rise, it’s a much-needed model that brings together D.C. musicians together in support of their fellow artists. Hamlin says the event is typical of the generosity of the area’s music community.

“There are a lot of folks here connecting with people from different genres, people building rapport and friendships and collaborating,” Hamlin says.

Von Vargas, hip-hop artist and producer, and the current D.C. Chapter president, enjoys the challenge of serving the different “pockets” of artists in D.C., Maryland, Virginia, and West Virginia, and notes that artists seeking community and fellowship should look to service.

Von Vargas

“Being in the entertainment industry, our careers can sometimes be more self-driven,” he says. “Sometimes it’s good to put that aside and try to make a way for others. I think serving others, taking time out to do that is important. Being [an Academy member] is one way – serving in the Academy is a selfless effort.”

Priscilla Clarke, president and CEO of the entertainment public relations firm Clarke & Associates, says that although the Washington area is more than just political ties, artists in the area should take advantage of Washington’s position as a seat of political power to advocate for themselves and others.

Priscilla Clarke

“Know what opportunities and resources exist,” says Clarke, who has been involved in the D.C. Chapter of the Recording Academy for 16 years, and is its current secretary, “Learn more about the chapter…and get involved in other groups with other music markers to learn what’s going on in your city. It’s important to know that you do have a voice and you can utilize it to make a change.”

Walker says that no matter how many new venues crop up, or how much the music scene in D.C. changes, a tight-knit network of dedicated artists will always be a strong, consistent presence.

“We’re a specific, special community that watches out for our own,” says Walker. “For our creators and creatives, and people who are involved with music, and have a love of music and the business of music.”

Washington D.C. Chapter Presents: Vocal Health Tips From Lalah Hathaway, Anthony Hamilton & More

Beck

Photo: Marcus Ingram/WireImage.com

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Beck Talks Woody Guthrie, 'Colors,' Songwriting & More

Dive in to the highlights at Up Close & Personal With Beck, a conversation hosted by the Recording Academy Atlanta Chapter and the P&E Wing that spanned the GRAMMY winner's career

Tim McPhate

Recording Academy

May 22, 2018 - 9:06 am

It's been nearly 30 years since Beck began his career journey, which has taken him from the anti-folk scene of New York City to winning GRAMMYs and performing on the biggest stages in the world.

At Up Close & Personal With Beck, a program presented by the Recording Academy Atlanta Chapter with the Producers & Engineers Wing on May 1 at the W Atlanta-Midtown Hotel, the "Blue Moon" singer/songwriter participated in a fascinating career-spanning conversation.

Moderated by Tony Paris — who revealed that he saw Beck perform in the late '80s at the Sidewalk Cafe in New York City — the discussion delved into the L.A. native's idiosyncratic approach to the creative process.

"I think everybody finds their own way in music," said Beck. "I produce other artists as well [and] that's one of the things [I enjoy] — going into somebody else's world and their process and [learning] how they got into music and the rules they wrote for themselves. There's a million ways to make a song."

Of course, Beck's catalog features an abundance of musical elements and textures, from alt-rock and acoustic-based folk to pop, Americana and hip-hop. It turns out Beck's varied output is a direct result of is anti-formulaic approach to music.

"I think it would be more practical and pragmatic to have a formula," said Beck. "When I make records, I pretty much throw that out the window. I think what's interesting is that world that you construct and how the record is made becomes a part of the identity of the record. That's why [my] records are so different.

"There are certain records that I've recorded in a house with a producer — it's very kind of amateur in a beautiful way. The next record, I'll get some of the best musicians and one of the classic rooms in Los Angeles, record it to tape live, and bring in a live orchestra."

During the 60-minute-plus conversation, Paris peppered Beck on other topics such as his breakout hit "Loser," why music education programs are important and his creative mindset for popular albums in his catalog, including his stripped-down Sea Change album, 2006's The Information and his latest opus, 2017's Colors.

"['Loser'] went through all the record companies and I had a few meetings and nobody wanted to put [it] out," Beck recalled about his 1993 debut single. "So, a friend of mine put out 500 copies. And it was one of those freak things … it [went to] No. 1. I thought it would go away and that it [would be] just a novelty. It just had a life of its own."

"I heard Woody Guthrie and it was just so simple. It was just a human voice and a guitar. That was a real revelation for me."

Though "Loser" is a brilliant alt-rock pastiche featuring drum loops, rap rhymes and unforgettable phrases ("Get crazy with the Cheese Whiz"), Beck revealed that the initial inspiration for his career came in the form of an iconic folk singer/songwriter's pure approach.

"I heard Woody Guthrie and it was just so simple," he said. "It was just a human voice and a guitar. That was a real revelation for me. I kind of went down that thread of blues and folk music."

Digging further back, Paris touched upon the fact that each of Beck's parents come from artistic backgrounds. His father, David Campbell, is a master arranger/composer who has worked with artists such as Adele, Justin Timberlake and Dream Theater. His mother, Bibbe Hansen, is an artist, musician and actress who worked closely with Andy Warhol and was among those who frequented The Factory, a distinguished gathering place for Warhol and his artistic associates. While his parents' talents no doubt had an impact on Beck, his love for music was instilled through picking up a guitar on his own accord.

"It was the default thing that was accessible to me, which is the beautiful thing about music," said Beck, who added that he is a big believer in music education programs. "Having music programs for kids [is important]. That's like a lifeline. For a child, that's opening a whole world."

With 13 studio albums to his credit, Beck has initiated a left turn or two. His 2002 GRAMMY-nominated album, Sea Change, though lauded today as a modern folk masterpiece, hit a bumpy road right out of the gate.

"The record company rejected [Sea Change] when I turned it in," said Beck. "That was a record [where] I thought, 'This is just one I'm doing for myself. People who like my records aren't necessarily going to like this. Maybe it will be an interesting curiosity later on.'"

Curiosity is a through line in Beck's creative process. His musicologist leanings and a constant thirst for knowledge continue to inform his work as evidenced by his latest album, Colors.

"[For] a record like Colors, the ethos was those great records that are groundbreaking, sonically, but the compositions are experimental and also wildly popular," said Beck. "Thriller, Sgt. Pepper's and Pet Sounds — there's a particular thing about those records. They are very experimental but they are also so meticulous.

"[I thought], 'How do you do something very experimental that has sophistication but is accessible [with meticulous] production?' It was a very different approach than how I usually approach making records."

'Morning Phase': Beck Wins Album Of The Year

Don Was

Photo: Erika Goldring/WireImage.com

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Don Was, Hip-Hop & Metadata: Inside The New Orleans Studio Summit

The summit's packed agenda featured an inspiring keynote address from GRAMMY winner Was, informative panels on metadata and hip-hop, and a remembrance of local studio legend Cosimo Matassa

John Wirt

Recording Academy

May 3, 2018 - 12:59 pm

For the past four years, between the two weekends of the New Orleans Jazz & Heritage Festival, the Recording Academy Memphis Chapter and the Producers & Engineers Wing have teamed to present the Studio Summit at Esplanade Studios in the Big Easy. A keynote conversation with Don Was, GRAMMY-winning producer and president of Blue Note Records, headlined this year's event, held May 1.

"We love coming here," said Jon Hornyak, Senior Executive Director for the Memphis Chapter. "We are very much a regional chapter, including Louisiana, St. Louis, west Tennessee, Mississippi, and Arkansas."

The Studio Summit also featured panels with GRAMMY-winning producers and engineers. The day's panels wrapped with a tribute to Cosimo Matassa, a 2007 Recording Academy Trustees Award recipient. The late Matassa engineered hundreds of R&B and rock and roll classics at his New Orleans studios.

Music writer Alison Fensterstock interviewed Was in the former Presbyterian church sanctuary that's now Esplanade Studios' Studio A. Was spoke about his formative years in Detroit; producing the Rolling Stones and Bob Dylan; and being music director for tribute shows, the latest of which is Exile On Bourbon St., a Rolling Stones tribute with Ryan Adams taking place May 5 in New Orleans.

"It's a trip," Was said about producing artists he idolized when he was a kid in Detroit. "I produced Bob Dylan in 1989 when I probably wasn't prepared to do it. I'd do a better job now."

During sessions for his 1990 Under The Red Sky album, Dylan told his guest session player, George Harrison, to play a solo with no preparation. Afterward, Was remembered, "The voice in my head said, 'Bob's not paying you to be a fan.' So, I said, 'That was good, but we should try another one.' George was like, 'Thank you.' Bob was testing me. I have to forget that they're my heroes and tell the truth — but be diplomatic."

Despite working with the Rolling Stones for 25 years, Was still finds them awe-inspiring.

"Every session there's a moment when I look at who's in the room and get a little dizzy," he said about working with Mick Jagger & Co. on albums such as their 1994 GRAMMY-winning LP, Voodoo Lounge. "But it's a thrill to be in a room with your heroes and see how the greats do it."

But even the greats may not know how they do it.

"I asked Bob, 'How come you can write 'Gates Of Eden' and I can't?'" Was recalled. "Bob said, 'I didn't really write it. I remember holding the pencil, moving my hand over the page, but I don't know where it came from.' Everyone who's really great — Willie Nelson, Kris Kristofferson, Wayne Shorter, Bob, Keith Richards — they'll all kind of tell you the same thing."

The Detroit of Was' youth was much like New Orleans, he said. "It's a music city, especially in the 1960s. People from all over came to work in the auto factories. They brought their cultures with them. A lot of the music that came out of Detroit in that time reflects that."

Detroit's working-class grit influenced its music, too. "If you want to know about Detroit, listen to John Lee Hooker," Was said. "He exemplifies the rawness and the honesty of the people in the city."

The Studio Summit's panels included What's The Deal With Metadata? Maureen Droney, Managing Director of the Recording Academy P&E Wing, and Gebre Waddell, CEO and co-founder of Soundways Inc., a Memphis-based software company, participated in the metadata panel with moderator Bill Wilson, digital programming and industry relations consultant with the New Jersey-based Music Business Association.

The long quest to give proper credit to producers, engineers, artists, and songwriters in the digital music era dominated the metadata discussion. Before digital music distribution, credits routinely appeared in CD booklets, but no credits have accompanied the digital releases that dominated music sales today.

"My theory is that producers and engineers experience things that are going wrong first," Droney said. "They were among the first to be hurt by credits going away because that's how they got work. It's a lot harder to get work when no one knows what you've done."

In turn, absent credits also affect royalty streams. Memphis Chapter President Waddell spoke about the software his company — which operates with the motto "Serve The Music" — has developed to connect credits to digital music files.

Memphis-based engineer/ producer Jeff Powell (Afghan Whigs, St. Paul & The Broken Bones) moderated the summit's Developing Your Craft panel, which featured GRAMMY-winning Memphis engineer/producer and Chapter Vice President Matt Ross-Spang (Margo Price, Jason Isbell), and New Orleans-based engineer Emily Eck (Ani DiFranco, PJ Morton, Arcade Fire). The trio discussed pathways to becoming an engineer, the value of assistant engineers and the late nights that can be necessary to get the job done.

"You have to accept that you're giving up your hobbies for this gig," Ross-Spang said.

Engineer/producer Carl Nappa (Nelly, *NSync) moderated Hip-Hop Production Today, which featured panelists Jimmy Douglass, a Miami-based GRAMMY-winning engineer/producer (Timbaland, Jay-Z, Duran Duran), and Nesby Phips, a New Orleans producer and rapper (Wiz Khalifa, Lil Wayne). The discussion included Douglass' mid-career transition from rock and funk to hip-hop and the possible demise of the demo.

Nesby Phips at the Memphis Chapter's 2018 Studio Summit in New Orleans

Nesby Phips
Photo: Erika Goldring/WireImage.com

"I recommend all hip-hop producers and artists don't get married to that first take if they're actually trying to optimize what that song sounds like," Phips said.

The Cosimo Matassa Family Tree panel included Robert Parker, a saxophonist who worked frequently as a session player at Matassa's studio before scoring his 1965 hit, "Barefootin.'" Also participating were Matassa's longtime engineer, Roberta Grace; GRAMMY-winning New Orleans engineer and producer Chris Finney (Dr. John, Harry Connick Jr.); and moderator Ira "Dr. Ike" Padnos, founder of the Ponderosa Stomp music festival and conference.

How did Matassa — who helmed classics such as Fats Domino's "The Fat Man" and Little Richard's "Tutti Frutti" — attain his golden touch? It was all in the ears, according to Grace. "He knew every microphone, what it would do, and what every instrument needed."

"He stressed that it's really not about us," added Finney, who was an aspiring engineer in his teens when he met Matassa. "It's about the musicians and creating an environment where they're able to express themselves and perform at the best of their ability. Our job is to stay out of the way."

GRAMMY Museum Celebrates The Enduring Legacy Of Dr. Martin Luther King Jr.

(John Wirt writes about music, film and other arts and entertainment topics in Louisiana. He's also the author of the New Orleans music biography Huey "Piano" Smith And The Rocking Pneumonia Blues.)

RAINNE

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

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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