H.E.R

Music Connection: Because of the pandemic this year, several recording artists have had to adapt to the way in which they release creative content. We noticed that you launched an original series called “Girls With Guitars” on Instagram Live back in April. You even aired a special edition of the show for Black Music Month in June. This was over six months ago. What have been the residual effects of this campaign and will you do it again next year?

H.E.R.: Oh definitely. It’s really important for me to include other really dope creatives in things that I do. People need substance right now and they need music. Just something to get their minds off of a lot of the stuff that’s been going on and I’ve been trying to do that in everything I do.

MC: Sheryl Crow appeared as a guest on episode 4 of “Girls With Guitars.” What was it like playing the guitar with one of your heroes?

H.E.R.: Oh my gosh! It was crazy! She’s a legend. I’ve had so many of my heroes on (the show), it’s been unbelievable. “Girls With Guitars” started off as just me being in the house, kind of being bored and discovering how much I love Instagram Live. I started having girls on there and it became something so much bigger. It’s been dope to see the response and to see who’s wanted to (appear on the show as a guest). Also, it’s been creating a platform for a lot of up-and-coming girls with guitars.

MC: Awesome! So, will there be a season two?

H.E.R.: Definitely. We’re going to have to do it big!

MC: Now, you have your very own signature guitar with Fender. The Fender H.E.R. Stratocaster was released back in September (2020). How did that collaboration come about and how involved were you with the design?

H.E.R.: They let me pick everything, down to the (guitar) pickups. Everything! It started off with Fender creating my acrylic Strat (for a Grammy performance in 2019)…and the relationship just built over time. It was a dream come true when they came to me and said “we would love to collaborate.” I was able to create my own Strat. It’s what I started playing guitar on and it honestly meant the world to me. I am the first black female artist to create a Stratocaster. It’s crazy. The goal is to inspire and I think this guitar is doing that.

MC: That’s cool, because the Stratocaster was the first guitar that your Dad bought you, right? From the Guitar Center?

H.E.R.: Yeah, it was a black and white Stratocaster. So, it was a crazy full-circle moment.

MC: Back in February, I watched your performance of “Me and My Guitar” with a rapper named A Boogie Wit da Hoodie on The Tonight Show. You were playing rock & roll riffs on the electric guitar. I was blown away by your musicality. Which begs the question: Who’s your favorite guitar player of all time? And if you could play in any rock band, past or present, which one do you think your style would mesh with the best?

H.E.R.: What? I don’t know if I can answer that. That’s really tough, but thank you. I was really nervous that day. That was the first day that I had to perform, playing the guitar for somebody

(else) as opposed to me being the singer and the guitar player.

I don’t know, honestly. Prince is definitely up there for me. But I love Eric Clapton, Eddie Van Halen and Jimi Hendrix. Those are some of my favorites. I would have loved to have played with Led Zeppelin or with Prince & The Revolution.

MC: About one year before that, you thrilled the national viewers with a riveting guitar solo during a live performance of “Anti” on the MTV Music Video Awards (2019). This song has such a strong social meaning about traditional beauty standards, but you’ve never officially released it as a single. Why is that?

H.E.R.: There’s a lot of songs that I’ve performed and never released. I have songs like “Glory” that I performed for Fender (Signature Sessions) with my Stratocaster. There are certain songs that I just like to perform because they’re really dope and they need to be heard in a certain way. Maybe it’ll be on my album. Maybe it’ll be on a project. You never know.

MC: Speaking of performing new music on live TV, you premiered a song called “Hold On” on Saturday Night Live (an episode that aired on Oct. 24, 2020). What was it like working on the set of SNL with Adele (the host) during the pandemic? And how did you choose the music that you were going to perform that night?

H.E.R.: It was one of the most epic nights of my life. I think this is pretty much how it happened: I was in Jamaica working on a project that I am hopefully releasing soon and Adele was in Jamaica at the same time and we just so happened to be staying at the exact same resort. I found out that she was there and, long story short, we ended up meeting. And she said that she was a really big fan. And I told her I was a really big fan. We just built a relationship off of the Jamaica trip.

We started speaking over time and randomly, one night, she texted me and said, “Have you ever done SNL?” And I said, “No, but I hope to one day.” I didn’t think anything of it. But a few days later my team says to me “Adele wants you to do SNL when she hosts.” I was freaking out. Adele said, “I was going to do SNL and there was no other artist that I wanted to perform while I was hosting.” I thought that was really special. It made the night even more special, the fact that she said that and is a really big fan of my music. So when I picked the song (to perform on the show) I had just released my single “Damage,” from my upcoming album and I really wanted to showcase that song.

“Hold On” is something that I had been working on for a year. It took me so long to write. I don’t know why. I finally finished it maybe a week before my SNL performance and I decided, ‘I think the song is really emotional and it needs to be my second performance (of the night), because it’s very different from the first song that I’m going to perform.’ And I got to showcase my Stratocaster!

MC: We heard that Janet Jackson approached you after your show in London and said that your music helped her get through her pregnancy. Who is the person most responsible for helping you develop the deeply emotional lyrics that you pour into your songwriting?

H.E.R.: Me. (laughs) I’ve worked with a lot of different collaborators. But I’ve always written songs that come from a personal place. Everything comes from me. I’m a huge diary-journal writer. And I think that shows in my lyrics.

MC: You often mention Volume 1 when it comes to finding yourself as a recording artist. On a personal level, where does that EP rank among the other releases in your catalog and why?

H.E.R.: Rank? I couldn’t tell you, I think everything represents a feeling and a time. I was 18 when my first EP came out, so I’m a different person now. Things change so much, I’m a different person than I was at 18, 19, even 21. MC: You’ve released five EPs in the past four years. Each of these releases has been met with critical acclaim. So, why is it that you haven’t released a full-length album yet?

H.E.R.: Honestly, I don’t know. Those were just supposed to be the introductions to who I am and what I do. You know? Obviously songs like “Hard Place” are much different from what you hear on Volume 1 and Volume 2. I think they’re just different versions of me.

Those first projects were for me to put out music and see if they love the message, and it turns out people do. And two Grammys later, I’m working on my debut album. Which I guess isn’t really going to be a debut, but it’s going to be a combination of all these perspectives that I’ve built and that have grown over time.

MC: Tell us about your working relationship with your producers DJ Camper (David “Swagg R’celious” Harris) and Swag (Darhyl “Hey DJ” Camper Jr.). They worked on your first two EPs. Are they going to be working on your upcoming debut album?

H.E.R.: Yeah, I hope so, I’ve been working with Camper a lot. Swagg is like my big brother. I’ve been working with both of them since I was very

• H.E.R. is the daughter of musician Kenny Wilson. He is the singer and guitarist in a blues band called the Urban Bushman

Band.

• Janet Jackson’s favorite album by H.E.R. is Volume 2. • H.E.R. owns a pet snake named

“Prince Roger” in honor of the legendary R&B singer, Prince.

• H.E.R. started the Bring The Noise Foundation in 2018, in order to provide low income neighborhoods with access to top quality music programs complete with full mentorship.

• H.E.R. signed to RCA records at the age of 14. She published musical content under her legal name, Gabi Wilson, for nearly five years.

• At the age of 10, H.E.R. was a finalist to play the role of Hannah

Montana on the Disney Channel.

• H.E.R. is an acronym that stands for “Having Everything

Revealed.”

MC: You’ve stated publicly that you’d like to work with Drake or Stevie Wonder. Will either of them be making an appearance on your debut album?

H.E.R.: We’ll see. I’ve just been making music and having fun with a bunch of different people. Those are definitely my dream collabs. So, we’ll see.

MC: What’s a writing camp with H.E.R. like?

H.E.R.: It’s mostly just a lot of talking. Some people will come up with the melodies that I like and I’ll go in (the recording booth) and do my thing. It’s a very intimate thing for me, it takes a while for me to open up to people that I haven’t worked with before. But it’s just good vibes and good conversation.

MC: You’ve often expressed the pride that you have for being a black woman in today’s day and age. But you’re also a Filipino American from the (San Francisco) Bay Area. A place where there’s a thriving Filipino American community. What’s the reception to your music been like among the Filipino American community back home?

H.E.R.: They’ve been supporting me from day one. With Filipinos, that’s what they love—R&B. I saw that when I became the first black woman to own a festival, The Lights On Festival (a Live Nation event that took place in Concord, CA on Sept. 14, 2019). We sold out in 10 minutes. The whole Bay Area and people from all over the world came out. I’m proud to be from the Bay. It’s always been a community and family vibe, being from the Bay. Having that foundation was really important in my success, growing and traveling the world. I always have that foundation, that family.

MC: While we’re on the subject of traveling the world, are you planning any concerts in the Philippines once the pandemic is over? Perhaps in 2021?

H.E.R.: Definitely! That was definitely a part of my plans before they were cancelled. I definitely want to go to the Philippines and perform.

MC: I’m sure that’ll make your Mom very happy.

H.E.R.: Absolutely!

MC: When you were a kid living in the Bay Area you joined a group called Pop Life with Kehlani and Zendaya. As the three of you have gotten older, you’ve all become superstars in your own right. What brought you all together back then? And what kind of impact did that experience have on your career path?

H.E.R.: I wouldn’t call it a career at that age. I was just playing music and having fun. We were all from the Bay Area. Zendaya wasn’t fully in the group, but we had met each other and performed around that time. I’m thankful that I was able to play music at such a young age. And I was surrounded by music, being from the Bay Area, as was Zendaya, as was Kehlani. We were all surrounded by music all the time and we loved music. And that’s how we ended up singing together or whatever it was at the time. I don’t think it necessarily had an effect on my success but it had an effect on me as a person and a musician, just learning things so young.

MC: You’ve been signed to MBK Entertainment (for management) since you were a pre-teen. What kind of role has Jeff Robinson played in your evolution from Gabi Wilson to the artist known as H.E.R.?

H.E.R.: When it came to the evolution of me as an artist and me developing as a woman and somebody in this industry who’s learning, Jeff has been a huge mentor for me. I’ve learned so much. He’s helped me become the artist that I am today. He’s shown me what to watch out for and he’s really educated me in life and in music in this business that’s so hard to navigate. He’s also shown me a family environment. I’ve been working with MBK since I was 11 years old, They’re like my family. We’ve always been there for each other from the very beginning.

Contact Theola.Borden@rcarecords.com

1. It is always interesting to write with people you’ve never met before. You introduce yourself, and start laying your whole life down. You have to get past vulnerability being an embarrassment. In the songwriting community you have to not care.

Songwriter July

2. Constantly create. Put music out. Create content. Play shows. Do everything you can to get your music out there. Don’t hold onto it. Let people hear it.

VP of A&R at Atlantic Records January

3. Whenever there is emotional intensity in the environment, we can connect better to music. It can be much more meaningful.

Songwriter September

4. I thought when I signed a record deal that all my worries would go away, but the race never really stops—it just gave me a launch pad.

Country Singer-Songwriter March

5. It’s good to have songs that mean more than one thing.

Songwriter April 6. Bands should just focus on making great songs they want to listen to and let the rest take care of itself. And the more songs you write, the better you get.

– Jake Round

Founder of Pure Noise Records June 7. [Songwriting] isn’t so much about having a thick skin as much as it is about showing all of my skin. And in showing it, people will feel less alone in theirs.

– Bishop Briggs

8. There is power in building your brand, especially when it comes to getting signed, because the artist development is done. There is a mutual respect and you will get a fairer deal simply because they assess the fact that you could do this by yourself.

Rapper June

9. Play out as much as you can, play in front of as many real people as you can and get good on the Internet.

Songwriter

Singer-Songwriter January 10. Trying to be famous is just crazy. There’s no way you can control that. But you can control the music you make. You have to hope you get lucky and when it happens that you’re able to deal with it.

The Flaming Lips September

11. A bridge relieves you. Choruses get old. I like two verses, a bridge, a third verse and then out. You can do all of your damage right there.

Songwriter October

12. Make music on your laptop and distribute it on the net, and build up an audience that will show up live or pay for a stream. It’s hard to monetize the recordings themselves, unless you land a commercial.

Multi-Instrumentalist Singer-Songwriter May

13. If you’re doing something just because you think it’s hot at the moment, I don’t think that works. What translates is the passion podcasters have for what they’re talking about.

Managing Producer at Earwolf Podcast Production Company February

14. You never know where a song is going to fit or just end up, and how people are going to hear it or experience it. It’s always different. It’s never just the same formula.

Cheat Codes March FOR THE PRODUCERENGINEER 15. When you work with somebody else, you can be inspired immediately by them. With my own stuff, I can be my own worst enemy. As a producer, you can have a fresh-ear perspective.

– Ethan Gruska

16. Most of the people who are technically savvy are usually not the best artists. The most important thing in any art form is that you’re able to make the art. It’s still all about the song.

Mix Engineer (Jimmy Buffett, Elton John) October

17. You don’t really understand the way [audio gear] works until you have your own and do it yourself.

Guitarist-Composer-Producer May

18. There is this saying ‘you’re only as good as your last record’––but only if you make it about your last record. People need to know your skill set. That’s what longevity is.

Producer (BTS) May

19. You can learn a lot through instructional videos. My ears are there from making records for my entire adult life, but as far as understanding how the gear really works, it’s like I went back to school.

Drummer-Producer (No Doubt, Moxy Brothers) June

20. If I’m hired as an engineer on a project, even though I might have opinions [on the production], it’s important that I keep them to myself. The producer is the one who’s supposed to express an opinion.

Producer (Lou Reed, U2) November

21. You can have a really janky amp or drum set, but if you’ve got a great drummer, it will sound good.

Drummer-Producer (No Doubt, Moxy Brother) June

22. Learn how to not fatigue yourself. Have a fresh ear. Don’t work all day. Hang out, talk and have fun. When you come back, you’ll be rejuvenated.

Producer March

Producer (Manchester Orchestra, Fiona Apple) March

23. Even if it’s not good that day, I still try to finish. It’s going to be a bad [session], but you still did it. If you just lie in bed all day, you’ll get in the habit of not [working] when you don’t feel like it.

Producer (Alicia Keys) July

24. You should absolutely build your own studio. It doesn’t have to be expensive or fancy. Many of my amazing ideas come early in the morning or late at night. So it’s important to have this creative outlet in your house and not just go to a studio.

DJ August

25. Less is more. Sometimes things are just fine with a drum groove, bass and melody. You may not need all of the bells and whistles.

Guitarist-Composer-Producer May

26. It’s all about comfort. Sometimes people get equipment because they see other people using it. You need to know what works for you. I bought some beat machines one time and it just confused me; it took me away from what I was used to.

One-half of producer duo Mosley (Post Malone, The Game) August 27. The test of a good monitor system is how it sounds on other speakers. The first place I go is out to the car and take a little ride.

Producer/DJ September

28. Get the production right. There is no rush, especially if this is your first recording. I know we live in an instant gratification world, but live with the mixes and performances for a while before releasing them to the public.

Guitarist-Composer-Producer March

29. There’s only so much room for repetition and OCD in the studio. Leave space for magic. Be ready for those moments.

Singer-Songwriter October

30. Do your research. I listened to Lou Reed’s entire discography multiple times so when I went into the studio with him I knew everything he’d done.

Producer (Lou Reed, U2) November

31. Get [A&R] who really believes in your art and is passionate about it. Even when an artist has a long, successful career, there are going to be a lot of valleys. You need someone who’s happy to push through those valleys.

VP/Head of A&R at Position Music January

32. Make every effort to respect other artists’ copyrights, and hopefully other people will respect your rights too. Copy-

right gives people an incentive to create, and without incentive, it especially makes it hard for new artists to thrive.

Author-Music Business Professor November

33. You need to get yourself a good lawyer and you need to make sure you have a great relationship. Sit back, pay attention to what people say, and don’t be too anxious to say things.

Rapper February 34. People want to feel heard and noticed on social media. Of course, branding and building your profile is important, but the work does not stop there. Engaging in meaningful interactions with your community comes hand-in-hand if you want to truly cultivate a strong network of followers.

Social Media Consultant May

35. When seeking out a manager, try to get to know the person first and their background and experience. See if they are truly interested in you and your career. If you are just starting out, you probably won’t be able to attract an established, successful manager.

Music Attorney June

36. If we’re not making a lot of money through Spotify, developing a relationship with people and building your following from the grassroots level is important. As far as selling your music, you just have to put the elbow grease into it.

Jennifer Westwood & The Handsome Devils April

37. It’s easy to fall into the trap of trying to repeat your previous success.

DJ-Producer April

38. Become an expert at everything to do with the fine art of communication. If people like you they will want to do business with you.

Author-Music Business Professor September

39. The process of collecting music and clearing music [for use] is sort of done on a case-by-case basis; everyone has a different process.

Business Development Manager at SyncFloor May 40. You won’t always get paid. You’ll get burned, stepped on and screwed, but keep going if you want to do this.

Producer (Alicia Keys) July

41. [Composers], the smart thing to do is write all the songs you can, so when [Film/TV execs] are looking, you’ve got a big old bag of goodies.

Composer November

42. Don’t mortgage your entire present for a future success. I think it’s our personal responsibility to continue our growth through engaging in new challenges … As stressful as the “down times” can be, it’s important to continue to create and to expand your body of work as your unique self.

Composer-Songwriter January

43. Anticipate and plan for the unexpected—you don’t want circumstances making your decisions for you.

IP Specialist and Patent Attorney November

44. If the label wants to sign you, you’re not gonna turn them off by asking questions or understanding it. A contract in its nature is a commitment. And while you may be excited in the moment, I think it’s really important to take a step back.

Bass Player of Fires in the Distance September 45. Focus on yourself. Stop looking at other people’s Instagram. Stop worrying about other rappers. Worry about yourself.

Senior Director of A&R at Interscope January 46. Leave your ego at the door. Who you are as a person will define who you are to the members of the industry and whether anyone wants to work with you.

Music Supervisor October

47. Even if you don’t have projects going on, [work], so when opportunity arrives, you’re ready to dive in.

Composer February

48. It is crucial right now to be proactive, not reactive. This season offers unique opportunities, and the artists who aren’t afraid to pivot and move forward, taking even one step each day, will build a solid career and stable income on the other side.

Musician-Entrepreneur May

49. If you want to try something and it fails, it’s okay, because you gave it a go.

aka Tame Impala November

50. Be flexible. Take feedback and notes. You can go into something and be so sure that it works. Then other people may tell you that it doesn’t.

Managing Producer at Earwolf Podcast Production Company February

OUR FAVORITE SIGNING STORIES As major and indie labels continue to sign new talent to their rosters, MC’s Signing Stories area has maintained its 2020

MARCUS KING Label: Fantasy Records/Easy Eye Sound Type of Music: Blues/R&B/Rock Management: AMFM Management Booking: WME Legal: Kent Marcus Publicity: Doug Hall, doug@bigfeatpr.com Web: marcuskingband.com A&R: Joe McEwen

Marcus King’s signing story is a classic example of a budding artist who realized he had a lot to learn if he was ever to realize his dreams. King attended high school in South Carolina, worked odd jobs and gigged with bands on weekends. “I was getting a lot of experience and trying to work my way into the clubs,” he recalls. “I hired a band that was all older musicians and professional cats. I’d work out deals to allow bands to be my chaperones. In those early days it was a lot of movin’ & shakin’ and learning a lot of lessons too.”

When he was barely 18, he formed the Marcus King Band and toured relentlessly. One night they had the opportunity to play in Nashville for a “New Faces” showcase. Fantasy Records A&R rep Joe McEwen was in the audience and signed them on the spot. Says King, “I had it very clear in my mind at a young age that the only person who could hold me back would be me.”

After three albums, King stepped out for a breakthrough solo debut, El Dorado, in January 2020, on the Black Keys’ Dan Auerbach’s Easy Eye Sound imprint. Explains King of working with Auerbach and company, “They helped me build a record around a story that needed to be told on my behalf.” •

LIL TJAY

LIL TJAY Label: Columbia Records Type of Music: Hip-Hop Management: Clayton Barmore, Deon Douglas Booking: Jordan Stone - APA Agency Legal: Jeffrey Seth Koenig, Esq. - Serling Rooks Ferrara McKoy & Worob, LLP Publicity: Winnie.Lam@sonymusic.com Web: liltjaymusic.com

Lil Tjay’s signing story is remarkable for how quickly he developed into a signable act, one that would go on this year to be a platinum-seller with his debut album, True 2 Myself, on Columbia. When we asked him about his speedy success, Tjay told us he always knew it would happen. “I started making music, like, two years ago, and I knew it could be for real before I even started. I always felt like I could do it.”

His self-confidence has been validated by the new 17-track album, featuring guest appearances from Lil Wayne, Lil Baby, Jay Critch, Lil Durk and Lil Tjay’s label-mate, Rileyy Lanez (and if that sounds like a lot of Lil’s to you, you’re not alone).

His streetwise style brought him to the attention of Columbia Records, and they couldn’t ignore him. “I literally was thinking of different labels and mentioned them in conversation,” Tjay says. “I just trusted it. My name was bubbling up in the streets—that’s how they heard of me.” •

BABY GOTH Label: Republic Records Type of Music: Pop Booking: Paradigm Publicity: Amaiya Davis Web: facebook.com/babygothofficial

As web apps have become a potent force in the music world, more than a few artists are making a DIY splash on platforms such as Instagram. “I’ve always wanted to do music,” says Baby Goth, “so I started using Instagram as a platform to do covers, so I could get a reach. That opened up doors where I could take more of a professional approach to my career.”

Yes, social media seems to be the route to success nowadays––becoming an influencer and getting that reach. Still, Baby Goth was surprised by the success of her self-titled debut EP. “That was unexpected,” she says. “I’m lucky to be able to do what I want to do for a job. All the people I met working with Trippie Redd––we even did some records that aren’t released with Diplo––so I just met some really cool people and fed off of their artistic energy and methods.”

That EP came out on Republic Records, a label she chose because they were supportive from the beginning. It’s certainly a long way from living in Colorado, unsigned, recording covers to post online.

“I ended up picking Republic because I felt they were really supportive of what I wanted to do and not what they wanted me to do,” she says. “They told me, ‘Everything that you are, we’re going to amplify it,’ and I love that.” •

FIRES IN THE DISTANCE Label: Prosthetic Records Band Members: Kristian Grimaldi, guitar, vocals; Craig Breitsprecher, bass, vocals; Kyle Quintin, drums; Yegor Savonin, guitar, keyboard Type of Music: Melodic Death Metal Legal: John Mason - Copyright Counselors Publicity: Becky Laverty, Becky@pioneermu sicpress.com Web: firesinthedistance.com A&R: Steve Joh, Sjoh@prostheticrecords.com

It’s 2020. And you’re probably sheltering-inplace. If you don’t have a full album ready to shop, what exactly are you waiting for? Take Fires in the Distance, for example. As bassist Craig Bretsprecher explains, having a package ready to release likely played a role in their signing to metal label Prosthetic Records. “We already had the artwork ready to go, the CDs pressed. ... They didn’t really have to take on a whole lot of risk, because this album was definitely coming out.”

And since the band had already funded the production of their debut LP, Echoes From Deep November, they could use the label’s advance money to reinvest in the album’s marketing and boost their live stage presence, and so on.

But how did the band connect with the label in the first place? “I noticed Prosthetic followed us on Instagram,” Bretsprecher amusingly