I didn't wait to be discovered. I moved to Atlanta to build a hip hop DJing career, touring as Phife Dawg's DJ through Europe, working clubs, doing mixtapes and radio. At the same time I was studying Music Entertainment Management at the Art Institute of Atlanta, getting a full education in recording, publishing, touring, and the legal side of the business. When I decided I wanted to be inside a recording studio, I pursued an internship at DARP Studios with the same persistence. I kept calling. I showed up. I got in, and never looked back. Working alongside Dallas Austin, one of the most genre-bending producers of his generation, I was exposed to a remarkably wide range of artists and sounds from the very beginning. The studio and the business were never separate educations.

From there I went deep into one of the most prolific labels in hip hop. As primary recording engineer for Cash Money Records I was in the room for the Hot Boys reunion, the Big Tymers peak years, and the early breakout of Lil Wayne. Those sessions were foundational, and the A&R instincts I was developing in parallel started shaping the work as much as the technical side.

The next chapter was Akon. For several years I was his anchor, serving as primary engineer, vocal producer, mixer, and right hand during his most commercially successful period. I worked directly with artists on his behalf, managed mobile studio recordings across multiple tours, and made creative and strategic decisions that extended well beyond the console. That era produced some of my most significant credits, including Michael Jackson and Whitney Houston, and introduced me to collaborators including Claude Kelly, a relationship that would carry forward into the next phase.

The years that followed brought a primary engineering and vocal production run with Usher that included recordings on some of his most important work. Running Claude Kelly's studio deepened a collaboration that expanded across Jessie J and a range of other projects. A sustained partnership with BloodPop then brought credits across John Legend, Lady Gaga, and Britney Spears among others. It was also during this period that a primary engineering relationship with Nas began, one that would deepen significantly and ultimately open the door to Mass Appeal Records.

By 2021 I had joined Mass Appeal Records as Senior Director of A&R, where my roster included Nas, DJ Shadow, DJ Premier, Slick Rick, Swizz Beatz, and Ghostface Killah. Beyond the music, I led A&R on brand campaigns for clients including Patrón, Google Pixel, and Adidas. My roster accounted for 99% of all new streams at the label since joining and 84% of all new additions to the catalog. Across that run the Grammy nominations kept coming. So did the scope.

What I've learned across 25 years is that the best version of this work happens when the person in the executive chair actually knows what's happening in the session, and when the person in the session understands what the release strategy requires. I've had the unusual fortune of operating on both sides of that divide long enough to move fluidly between them.

Today I manage artists Otis Kane and Rook Monroe, continuing to work at the intersection of sound and strategy. I bring to every project the same instinct that has driven the work from the beginning: make the best decisions for the music, and the rest follows.