I was playing in school ensembles, playing 1st chair trumpet, all through school, even marching band. Music was my thing, also I was super bad at math. While all that was going on I also was learning guitar—I took one lesson and decided I'd rather learn Metallica and Slipknot songs. So the passion was always there. The moment I knew I wanted to work in the industry was when I saw the Roadunner Records United DVD and learned A&R was a career. I went to college, got an internship at Roadrunner and here I am.

Just to do your thing, don't worry what anyone else is doing. Fail doing things how you want to and not be a cheap knockoff of someone else. If you're not failing, you're not trying.

I hate being out late, I'm a morning person! The experience of being able to talk with artists and managers is a massive carryover. Really knowing an artist, and what makes them tick, is a crucial part to marketing their message in a honest way—especially in heavy music. I still work with the RR A&R crew—Dave Rath, Mike Liguori, and Ricky Singh—to shape my perspective on signings.

I love live streaming! It’s a real, authentic way for fans to connect in the moment. Also, artist collaborations with brands. Even though they have been around forever, they are at a whole new level that you wouldn’t have thought of before. Ah, and the demise of influencer marketing!

When I say ‘influencer marketing’ I mean the hot air, soulless version. There are some amazing creators out there that fit our artist’s brands. At EMG we try to not take something at face value or base our choices just off the numbers we see from past examples. We strive to find and create meaningful influencer interactions with our artists. Definitely a case-by-case situation.

Just that some days your brain is fried. Switching from Slipknot to Sturgill Simpson to Trivium to nothing,nowhere. can be a trip. At the same time, it's amazing because you can take concepts and use them in new ways across the group. On a personal level it is also creatively satisfying to work with such an array of artists I love. Still, some days it feels like every artist is releasing something and I need a Monster energy at 9AM.

I don't think we've seen the streaming wars begin yet. You look at TV networks and their battle with non-traditional streaming services, its wild. Years ago, some forward thinkers looked at music as something that would become a utility cost, like an electric bill, I think we are in the early days of what it will truly become.

Besides always trying to fit the whole band in a profile photo? It gives you the chance to explore ideas with different members interests. Some will be skaters, or gamers, or basketball fans which gives you the chance to expand their story to the fans.

We just had a kickass 2019, something we are very proud of. There was a lot of growth and learning how to be a real unit while having one of our busiest years ever. I look forward to our digital crew, and entire label, outdoing and outworking what we've accomplished. What's really cool in the digital team is that we are all friends and lean on one another for advice and help.

We've assembled a real killer team—Suzy Yoder led us through a hectic year and is always there for us. I started with Tim Davideit and learned so much from him and he’s someone I still look up to. Kate Stronczer is a killer who I routinely 1-2 punch on a lot of projects with. AJ Pelliciotti is an awesome graphic artist and grinds—even the new crew of Chris Milo and Brian Connelly have stepped in and are already in the blood. All that, and using wrestling terminology whenever I can. 2020 will be too sweet.