And The Writer Is...with Ross Golan - Ep. 145: Tainy

Episode Date: October 25, 2021

Leading a new wave of Latin music and culture for over a decade, today’s famed producer and artist guest, is the mastermind behind some of music's most iconic hits. A four-time GRAMMY© nominee, three-time Latin GRAMMY winner along with seven nominations, multiple BMI Award Winner, he has been churning out career-defining hits for artists as well as his own, including Daddy Yankee, Bad Bunny, J Balvin, Rosalia, Lauren Jauregui, Zion & Lennox, Anuel, Ozuna, Don Omar, Wisin & Yandel, Kali Uchis, Rauw Alejandro, Jhay Cortez and more. In 2019, he made his artist debut reaching the top charts with hit singles: “I Can’t Get Enough,” ”Adicto,” ”Callaita,” #1 Latin Pop and Airplay single “Agua” and GRAMMY® nominated “Un Dia(One Day).” In 2021, our guest continued pushing the culture forward on a global scale executive producing, Selena Gomez’ first full Spanish language body of work "Revelacion," "Sunbathe" alongside Miguel, and Bad Bunny and Jhay Cortez’ “Dakiti,” which went No. 1 globally. In addition, he continues to break records as the only producer to sit at the #1 spot on the Billboard charts for a record 102 weeks.  His latest two hit releases pack massive star power; “Summer Of Love” with Shawn Mendes and “Lo Siento BB:/” featuring Bad Bunny and Julieta Venegas.  And The Writer Is… Tainy!Artwork: Michael Richey White Hosted on Acast. See acast.com/privacy for more information.

Hey guys, welcome to Ann the writer is. I'm your host, Ross Golan. I've written with hundreds of artists and writers over the years, and my favorite part of each session is the first hour when we catch up about life, the industry, politics, composition, whatever. So this is a journey of learning why people write songs, how people write songs, and most importantly, who the people are who write the songs.

I'm producing this with the Great Joe London, big deal music publishing, and Mega House Music Management. If you want to listen to the songs we discuss in this podcast, follow us on our socials, find out about special live events, or buy that merch, aka that hat I always wear. Go to our website www.andth, and the writer is.com. Welcome to And The Update is. I am your host, Paige MacDonald, and this is your weekly music industry update.

On October 19th, Cobalt Capital confirmed that investment giant KKR acquired the KMR Music Royalties to Portfolio, for approximately $1.1 billion. CMA has announced its firm intention to move ahead with a market study into music streaming. The media and entertainment company Liberty Media has sold off its entire stake in U.S. radio giant IHeartMedia. The music licensing startup SlipD.Stream, which runs a royalty-free library of over 50,000 tracks and 40,000 sound effects, has added T-Paid to its advisory board. Spotify has partnered with e-commerce platform Shopify on a new integration that will let artists sell merch via their artist profiles.

Warner Music has launched Asiatic Records, a new Asian label dedicated to supporting the best hip-hop and rap talent from across the region. Apple Music is launching a new subscription tier called the Apple Music Voice Plan for $4.99 per month. UTA has signed DJ and producer Marshmallow and will represent him in all areas worldwide. Worldwide. Little Sims will be crowned Artist of the Year at the 2021 Artist and Manager Awards. Warner Chapel has signed DJ producer and songwriter Todd LaTee. The Orchard has partnered with Global Technology Company Wise to offer a faster, cheaper, and more streamlined way for music labels to pay artists across multiple countries and currencies. Lab Records has extended its worldwide distribution deal with ADA.

Moses Martin E has become the SVP of Global Digital Commercial Strategy at Sony Music Publishing. Dan Medlin has joined Vancouver-based Network Music Group in Australia and New Zealand, where he'll drive strategy for network's artists in the region. The Black Keys have signed with Azov and Meyer. The pop-boy band, BTS, will be leaving Sony Music for Universal. Warner Music Group is now worth $10 billion more than it was a U.S. year ago. The Recording Academy has hired Sean Smith as EVP of Communications.

Spotify has partnered with Ali Tamposi and Tamar Capralian to launch Song Start. The U.S. ad-supported Spotify listeners have passed the 40 million mark. A big thank you to Haley Evans of Megahouse for gathering today's news. Now stay tuned for this week's episode of Anne the Writer is. Welcome to And The Writer Is. I am your host, Ross Golan. Today's international super producer is a three-time Grammy-nominated, three-time Latin Grammy-winning and multi-BMI award-winning Mastermind.

He has contributed to some of Latin music's biggest hits during the 21st century, producing over 250 songs for artists including Cardi B with a record-breaking single, I Like It, the Duolipa J. Balvin-Bab Bunny collaboration, Una Dia, just un-diya, I guess not Una, that would be wrong. And executively producing Selena Gomez's Latin EP Revellaio. He has dominated global charts and is on his 85th week. 85th week as the number one Billboard Latin producer.

Our guest has helped shape the sounds of regatone and Latin trap for more than a decade and was just named Variety's hitmaker of the month. And the writer is Marco Fernandez, aka Tiny. What's so, my man? What's so? I'm sorry for butchering Spanish, but as you can tell, that's not. You're big, my man.

I can't believe how much you've done in your life already. and, you know, when we've interviewed people, we always, you know, we have a few people, the majority of people make it after like a life of, you know, going to, it's like going through school, going through being in, you know, performers, then they become writers. They have this long, long journey. You're only 31 and yet you've done. you've been having hits literally for 12, 13 years, I think was like the, I mean, it's insane. So I guess I just want to go back to the beginning and figure out how can someone be such a prodigy?

Because, you know, I know you've worked with, you know, Benny and some of our friends that are like that. And there's, you know, there's like 10 of you on the planet, you know. So it's so shocking. And whenever you get to talk to somebody or something, they figured it out while the rest of us were, while the rest of us were like going through our awkward teenage phase. You know what I mean? Yeah, man. I mean, bro, like, for me, I think about that all the time.

Like, it's, you know, it's such a blessing to be able to, you know, to have this, you know, career and, you know, still be, you know, relatively young. I get to see a lot of people that, you know, I grew up, like, watching and, you know, admiring and probably their journey studied a little bit later because of, like, what you say, like, there's process that people go through and, you know, things come in a later stage in your life. And, you know, I was blessed to get it, you know, at a, like, sooner. And, you know, it's always been of, you know, those opportunities that, you know, they just come at, like, at you know, all of a sudden. And then I think that. thank God I've been able, you know, to make the most out of those. And, you know, it's gotten me here to this point and, you know, open the door for me. When I first stepped into the, you know, Looney Tune Studio, which were like the biggest producers in Puerto Rico. And, you know, I just, I happen to to know one of the producers that worked with them called Nelly. And, you know, they just gave me a chance to pass by the studio. I'm 14.

I'm about to turn 15. And, you know, they just. just like put me on the spot to create a beat and, you know, do my thing and see if it's true. What they're saying is like this kid that knows how to make beats. And, you know, thank God they left me alone, like to just work for a little bit. And I didn't have the pressure of having my idol, you know, standing beside me. And man, when they came back, they just loved it. And that same day, they asked me like to talk to my mom because, you know, they wanted to sign me.

So, you know, from that moment on, it's just, you know, been a, constant learning and, you know, having amazing people like in front of me. And, you know, I try to absorb as much as I can. To this day, I'm still a student. I keep learning. I keep wanting to, you know, grow as a producer. And I think that's it. That's what I tell everybody also that, you know, you never know when the opportunities are going to come.

And, you know, you just got to be ready. So that's why you got to keep practicing and, you know, polishing your craft. And because you never know, man, and probably, you know, you got the opportunity. you let it pass the first time and probably catch it on the second time. And, you know, I just was truly blessed to, you know, catch it on that first go. You said that, you know, and we'll go back a little bit because, you know, once they say, well, we want to sign you, when you sign a contract at 14, your mom's the one who's going to sign it all the way to 18, you know? Exactly.

So your mom obviously was supportive or you wouldn't have been there to begin. with. So what was your family life? You know, you're born in San Juan. What, what is San Juan Puerto Rico like in 1989 and in the in the 90s while you're, you know, growing up? So I mean, Puerto Rico, I'm so proud of, you know, being from Puerto Rico. It's just an amazing island. Like, the people are amazing. And, you know, I ended up doing music and Puerto Rico's a really musical, you know, country, like you have

different types of music all over the place. You have, you know, my mom's Dominican and you have a lot of Dominican influence. So,

you know, you have a little bit of that. You got a little bit of, you know, merengue from over there and Bachata, but also you have,

you know, Salsa, which is, you know, really iconic from Puerto Rico. And you have, you know, plana and Bomba,

which are like things that from, from our ancestors over there. But I was blessed to be growing at the same time where regitone was starting to grow. And, you know, getting to see that develop and, you know, become what, what it was at that time. And, you know, having a huge influence from the states also.

Like, you know, Puerto Rico is one of those Latin American countries that have a lot of influence from the United States. So a lot of the music that's coming out, you know, we get it over there really quick. Like, rather, like growing up probably in Colombia or Argentina, you probably get it a little bit later. So, you know, we were really up today with hip hop and rock. So I was a huge fan also growing up and listening to that. So I think it's just that combination of like all of those musical influences. But also, you know, it's a really, you know, lively. They love to party.

They love to, you know, do their events. And, you know, there's just a lot of stuff happening over there. It's a small island. But you just get that from the P-Bow. And I think that's something that, you know, not just me, but all Puerto Ricans grow with, it's just like that, you know, culture and, you know, music side of it that's really important to us. And, you know, finally being blessed to be here and say that my career has been music.

It's amazing. What instrument did you start with? So when I really wanted to start, like, getting into music, I wanted to play the drums because, you know, I was a huge, like, rock fan. Like, my thing was, you know, I was. really gotten into music like 1999, 2000. So, you know, Lincoln Park and Limbiscuit and System Outland. Like, that was my thing, Blink 182.

And that was the instrument that I wanted to play. And I only had one class because I used to go to a church. And, you know, they started giving lessons, but they just gave one. And then they closed it. So it was kind of like a bummer. But, you know, it just sparked that wanting to like learn more about music. And, you know, eventually I just got my little keyboard. And from there on, that's the only instrument that I really, you know,

learn how to, you know, work my way around it and self-taught, like, just like being able to practice and, you know, listen to different genres and songs that I like and try to, you know, recreate it. I think that's what helped me create my sound now, eventually going into producing just like finding my way around it and just learning, you know, the hard way. But, you know, in some sort of way, it just created my own style of like figuring out melodies and figuring out, you know, the things that I like.

So that's the only one. I'm a fan of a lot of instruments. I wish I could have like, you know, gone to college and study music and like learn about more instruments and learn about more types of music and, you know, the ins and outs of it. But, you know, I was already working before I even, like, graduated. So, you know, I just felt it was better to stay in what I was doing and just, you know, be able to create this career for myself. Yeah, I don't know that you want to necessarily go. I do think, you know, people are able to go to college. That's great. And if they're able to study their instrument, that's great too.

But I do think that there's a, probably the instruments I'm best at producing are the ones that I'm worse at playing. You know, it's like, because then you write parts that are singable and not stuff that it's like, look at how, look at what I can play. You know what I mean? And I've gotten that from a lot of people. Like I always had that question like,

damn, should I even like studied and, you know, learn the proper way of doing things and whatever. And, you know, there's a lot of people that told me, like, you don't really need to like do that because that probably will change your way of creating. You're going to start seeing things differently. And probably things that you used to do by mistake and just like fearing things.

out, like, now you're seeing it on a more, like, technical way and probably it will take, probably it would add or probably it would take away from your, like, creative process. And, you know, it's something that I, that I, you know, I understood and I just kept it, like, the way that's been working for me, the way that I, you know, feel passionate and happy when when I'm working. So I just kept it the same. It's also when you're in a studio, you know, the other people in the studio, especially at the the level that we're talking about, everyone is legit talented, like world-class talent. And so people communicate and they teach things without even knowing that they're doing it,

or maybe they do know. But it's not like you're not learning in the studio. You know, you'd have, if you were a music student, you'd kill to be in a studio with the kinds of talent that you're in with. And because you'd want to learn what it's like to actually make music that people want to hear and not necessarily like what you have to practice. Yes. Exactly. No, I get that and that's so true. And that's why I say, like, I'm still a student. Like, I can't believe the amount of people, amazing people that I go into sessions, like, daily, people that I never thought that I would be in the same role. People that, you know, you just bump into amazing, amazing, you know, instrument players or songwriters or producers or engineers. Like, it's just so many amazing people. And I just grab whatever details and things that I could, like, incorporate to my work. work ethic and, you know, to help me be better and help me, you know, understand better what I'm doing. So, you know, that's a really good point that you have right there. Is your, you know, I find that obviously a lot of people who are really successful tend to have a

certain humility because, you know, they're not having to, like, pitch how good they are, you know, it's like it's really hard there there's no other producer when you're number one on a chart for 85 weeks there's not like a a 1a and a 1B like there's no one ahead of you in that and maybe is is that why do you find that humbling or do you find that to be a lot of pressure I mean I rather see it as humbling as like I can't even like like process that is happening still. And, you know, I just try to keep the mindset of like day one of like I'm still not there yet. Like I rather just keep on like, you know, where where else can I keep going? Where else can I, you know, be a part of like the next amazing album or work with this

amazing artist that's probably going to unlock something that I've like haven't reached yet. And I think that's that's something that, you know, probably is a testament to. to like get into those certain goals and, you know, achieving a number one on that Latin chart is, you know, trying to stay constant, you know, learning and growing and not be, you know, content with, you know, I just reached this and this is what I needed to do and I'm just happy with that. Like, I think it's just that constant of pushing, pushing yourself and, you know, and it's amazing to see it's not just me. Like, I would probably be in, you know, the number one, but there's a lot of my, my, Like, you know, people that I work with that I, you know, I've seen grow also.

And, you know, when it comes to the day that I probably am not there, not there at that moment is somebody else. I think that's where I probably feel the pressure of like I have the eyes of everybody and a lot of people that's watching me. I got to do great so they can, you know, be greater than what I'm doing right now because I can't just be there and just, okay, I got to this point. Now I'm just going to, you know, coast and just do whatever. I just want to do the best that I can while I'm at that point. So, you know, I can inspire the next one just like a lot of people inspire me. Sorry to go back and forth. But, you know, like you said, it was early 2000s and you're into Lincoln Park

and a lot of more of that kind of like hip-hop rock world. Yeah. But, you know, when you start making beats, you're still barely a teenager, you know, like, how do you, because there are all these different teenagers in the world that are making beats at home. And a lot of them think that it's good. I mean, I think almost any songwriter who listens to this wrote songs at that age and were pretty confident it was good. But when they listen back, it wasn't great. Yeah. You know, how are you getting feedback?

Are you playing beats for your mom? Do you have brothers and sisters? Are you playing for friends? Are you playing for people in, you know, you're like, are you finding people to, you know, take these beats at 14? Like, how are you getting any feedback?

So, so with me, I had that, you know, I will, I had my younger brother and, you know, he's always been the one that's like, been with me. But, you know, same with, same with, like, probably friends at school. Like, you know, your friends are going to hype you up. Like, it's rare that someone, somebody's going to come in and say,

bro, that's whack or whatever. So, like, for me, that was important, like, to have, you know, the approval of your guys. But as I mentioned a little bit before, I grew up going into this church that my mom used to go to, and the pastor's son was one of the guys that was already working with the Looney Tunes called Nelly. And so I'm the eldest in my house.

So, you know, that was the guy that I wanted, you know, that was my big brother. That was the guy that I wanted to be just like him. So I stayed at his house. He's, you know, three years older than me. So at that time, there's a little bit of a gap. He's already working. He's a teenager. I'm still a kid. Like, but I'm staying over there and I just get amazed by like what he's doing. And, you know, wow, he's doing music with these artists that I listen to at school and everything. So I just like stay over there and just watch him work and see him like going to the computer and do certain things he'll bring me into the studio once in a while and and that just blew my mind and as soon as i got the opportunity you know to buy a

computer and you know asking for the software which which was fo studio at that time and got that moment where i sat down it just like blew me away that i could just create anything that i wanted just from what i was imagining so my feedback was him at that time i would go every sunday to try to church with a CD with like five or six beats sit with him at the car at the end of you know at the end of like like church and he'll give me just bro this sounds good you should change this you should try this over here this sounds too much like this or whatever and you know I'll get all those notes come back next Sunday same thing five six beats for him to listen and you know he was really the one that was giving me you know that guidance and you know gave it to me and you know gave it to

me straight. It wasn't like, this is all amazing. He kept pushing me until he got to a point where he just heard one that was like, okay, there's something good over here. Like, let me take this CD and show it to an artist called Ector Fother, who was, you know, he was the man at that time over there. And he was working with him. So he told me, let me show it to him and, and see what he thinks. And later that night, he, he calls me that the artist liked it, that I should come by the studio the next day. And so next day comes and I start, you know, calling him and texting and he doesn't pick up. Like, he doesn't appear anywhere. And I don't know why, like, usually me as a person, I will, like, just be respectful and just wait for them to call back. And, you know, it is what it is. But I don't

know. I just had something telling me, just go to the studio and, you know, see what's up. And so I made my mom take me over there and I go knocking doors. He's not over there, but the person that I fine, it's Looney. So Looney Tunes are like the guys, the owners of the studio, like, best producers in the game. And I never seen him just like in pictures. Like, that's my idol over there. And that's the point where he tells me, like, he asks me, am I the kid that's, you know, making Beasts or whatever? And I'm, I assume, yeah, I'm a kid. I make beast. So I think I am. And he tells me, okay, so sit down, like, show me. And so that's when he lets me, you know, he told me, I'm going to do some things and I'll come right back. And, and, and,

and listen to what you did. So I try to recreate that same beat, Danelli like, for the artist because it was my, you know, my best bet. And they just loved it. And that same night, they signed me. At all of this, my friend, he never appeared. He never called.

So he just saw me, like, a week later at the studio. Like, crazy, like, oh, my God, bro, like you're signed or whatever. So, you know, it's just a crazy story, like, something. If I wouldn't, like, make that decision of just, like, heading over there, We probably wouldn't be talking over here right now. So it's crazy what life throws at you, man.

But you said early on where, you know, the door is open and sometimes you miss it and then you, you know, maybe you catch the second one. I think what you just did there that is important is that you opened the door yourself. And I keep trying to tell people that it's like I'm kind of uninterested in signing songwriters. much more interested in signing entrepreneurs. You know, that guy is like, that guy did it, you know? Like, don't you want to go and give that, like, 14-year-old version of you, like, just like a hug and just be like,

man, you're doing it, man, you're doing it. Like, you didn't wait. You did it, man. Yeah, man. It's something that I still, like, I relive every day because, you know, it's just, like, such an important moment that just a simple decision, not being the right one, would it change the whole, you know, course of my life. So it's crazy.

And that's what I tell, like, what I tell, you know, young producers, like, real opportunities are out there. Like, you just got to, like, put the work in. And, you know, whenever that comes, like, you'll be ready. And, you know, there's a probably, I would say there's a lot more opportunities nowadays than probably when, you know, when I started. But, you know, everybody's paths is different. and, you know, their situation is different, but, you know, it's just being ready.

I think it's the best thing. And, you know, having those dreams and goals that you want to achieve. And, you know, not do it halfway, just like go full in because you never know, man. I mean, you were sitting in the room. It would have been much easier for you to just wait. First of all, you must have been nervous as shit. Guys, like, I'll be right back. You're like, oh, my God.

And then you're trying to recreate what you know is kind of a sick beat probably from using your like all in your head and be like what did i do here wait wait don't forget like no no it's this kind of high hat and this kind of like and you're just going through it and then like that energy that must have been flowing and that like one hour that you probably at most it felt like an eternity because like at the same time bro i'm working at a little desktop with a with a little keyboard like I've never seen like a motif keyboard. I've never seen KRKs. Like I've never seen a soap woofer.

I never seen any of these things. And, you know, I just get to that studio and I have all of this in my, you know, disposal. Like it's so crazy, intimidating. But at the same time, it was exciting just to, you know, have a feeling of being a part of that. So, you know, I still don't know. Like I probably erased that moment from when I started and when I finished the beat. but, you know, it was just, you know, it was meant to be.

I had an angel with me, you know, guiding me to making the right thing for when they came back. One of the things that's interesting, too, though, is like that that happens. That gets you in the door. You sign the deal. You start working professionally. You start working with bigger artists. But there's a huge difference from, you know, whatever that is, like 2005 you. and 2009 you, which is way different than 2018.

Like, I think it's easy to look at you now and be like, oh, he's been just writing smashes since he was 14. That's not really it. It's like you got in the door, but then the hustle then really had to start. Yeah. You know, like, you were so close to so many giants at that point. you know but it wasn't necessarily

like you were writing the hits all the time for those guys how did you stay confident when you're just like writing stuff and you're so close but it's still not like it's not like the worldwide smashes you have like smatterings of like some pretty big

you know obviously some big records and you're on some big record but like the guys next you are the ones writing kind of the hits exactly what was the difference between the songs they were doing and the songs you were doing. And what was the switch when you started realizing, oh, if I start doing this, that's going to start,

that's going to be the difference between album and single. So with me, I think at that point, it was probably those first like two years, like, of, you know, being signed and started to come, you know, to the studio and work. As you mentioned, I'm going into a studio where, you know, Looney Tunes are like the main. producers, they're the big ones. But underneath them, you have Nelly, which is an amazing, legendary icon producer. Same thing with Nesty. So you already have like the, you know, the top

guys, like the people that everybody's coming to, you know, see and work with. And, you know, for a moment there, most of the things that I used to do is just recreating exactly what they were doing. Just like everything, every single detail. I just wanted to make it as close as possible to, you know, what they were doing. But when I get there and, you know, you're seeing all the artists work and then they'll give you an opportunity here and there, but it's not, it's not connecting like you were hoped for. And what I, what I saw and that, you know, just resonated with me is that, you know, I had a lot of time in my hand. So I started, you know, to try things. And, you know, at that time, Rayetong is like the main thing what people are looking for.

But, you know, when I had time to, you know, just explore and try stuff, I would try and do hip hop. I would try and do like certain things with rock and, you know, probably distort certain sounds and, you know, just like experiment and try stuff. And that to me just made me feel like exciting. Like this is something that I haven't heard and, you know, and what we're doing over here in Puerto Rico. And I think that's the moment where I start to, you know, get that switch of like, if I keep doing the same. same thing as they're doing, I'm going to stay here because they're the best at that. And, you know, I'm still like underneath in that type of level because they've been doing this for years. Like, they perfected it. Like, what I should do is do something that sounds like me.

Like, what I, what represents me and, you know, my influences and my ideas. And I think to start to experiment and just, you know, going to things that I'm a fan of, but also, you know, I field that can merge with what people are searching for as in terms of the artists. I think that's what, you know, started to catch the attention of, you know, different artists when they got into a studio or like, heard me in the studio from afar and just came in to see, like, what is that? And, you know, getting to realize that, like, pretty quickly, I think also, like, help me a lot to, you know, gain the trust of certain artists and, you know, be your part of,

like those opportunities like, yo, we're starting to do an album, like, what do you have for us? And to have something that sounded totally different from Nelly or Nesty or Luni is what opens, what opens those doors for me. And I think that's one thing that I also tell a lot of, you know, younger kids or people that, you know, look up to me. It's like, find what's you, like, what's authentic to you and what's going to sound different when people listen to your music. Because I know the easiest thing is probably to replicate what I'm doing. because you're a fan of and that's your inspiration. But people already know my sound, like, what's going to be your sound?

And you've been doing it for years. It's like if that's a more important statement than I think, you know, we should highlight that. I think people think that they want to sound like their mentors, or they want to sound like that. but you have to sound different. And also, that's when your mentors will bring you in the room because you do something different than what they do. But otherwise, you do the same thing to do.

And so then it's just another person in the room. And that gets like a, I mean, the artists you're with are so big. They don't want another person in the room. They only want it when that kid shows up and they're doing something like, holy shit, I never thought about it. What if you added, you know, this guy's the, you know, he adds the ukulele to everything or whatever it is. You know what I mean?

Exactly. Whatever the instrument is, where it's like that's what they do. And you're like, shit, I didn't realize you could do that. Yeah, I think that's something important. Sorry, go ahead. No, like, what I'm saying is that I think that's something important. And that really helped me, like, something as minor as like, in regatone, there's certain drum samples there are like, you know,

Those are the staples. And I wanted to, like, do the same pattern as a reggaeton, but probably used hip-hop drums and gave it a totally different sound. And that really, you know, helped me out for, like, you know, for a time that I had a different approach to what reggaeton was. You know, when you're looking at 2009, you win, you actually, like, you win a lot of. Latin Grammy. My assumption is that there's, you know, that's the moment when, you know, if you,

you probably at that point felt like you made it, I would assume, you know? Like, you can't really beat that. How was it sharing that kind of success with your mom? I mean, it's just something special. Like, I know that probably

she doesn't get the extent of of certain things because she probably doesn't, you know, know the complete story about, like, what a Grammy is, what, you know, what Billboard is or whatever. But just having that unconditional support and she's seeing the happiness that it brings to me, I think that's the most, you know, the most special thing. So, you know, ever since she gave me that computer that first day, without even knowing what I was going to use it for, but she knew it, but, you know, going to bring me happiness. And eventually, you know, bringing my first Grammy that's still in my mom's house,

like it just stays over there. It's just special, man. It's a dream come through. the music that you were doing at that point was it was it's just that I guess Latin music wasn't being accepted regularly in the pop world and a lot of that's really changed over the last few years

you know in 2009 you know bad bunny doesn't exist you know and Jay Balvin's and yeah there's probably like some, you know, Daddy Yankee, and I know, like, you know, it's not like you didn't have Nicky Dam and Sean Paul and some of these guys were around during that, but like, the music that you've been involved in in the last few years is the next level where finally radio in the U.S. is replicating the demographics of the United States and actually

has music that's in Spanish or Spanish, you know, and it actually has like some of this, you know, it just feels like where the future is now, you know? And it happens that you had this skill set to break a lot of these artists or work with them together. You guys as a group of creatives feel like you guys are doing it together.

Is there a a relationship between all the few producers and the few artists that really are leading the way you know when you're on the forefront of a movement does it feel like you guys are in it together or is it sort of like when you guys see each other you acknowledge it i mean what is it like be part of that group of you know yeah so it's created yeah so i i feel it's probably the the second one you said probably you know when we link and we see each other you know we always give each other, you know, our props and, you know, how proud we are to see you, like, do this type of music and do this certain type of song. I think that's something that, you know,

we constantly say. But more of the conversations are really, you know, probably when we're going to approach an album or a project, let's say with Bad Bunny or, let's say, with Jay Balvin or Rao Alejandro, like, but you get a sense, like, even without all of us talking together at the same time, you get a sense of like what this generation is and what they're bringing to the table of like, you know, being more open, you know, just being excited about doing different things and, you know, learning about the rules of what we, where we came from, but also like, how can we keep evolving, you know, just bringing amazing music to the people. And that's something that, you know, inspires me a lot.

And I think that's something that, you know, also like, you know, makes them want to also like keep working with me and collaborate with me in certain tracks and certain albums that, you know, they know I have that type of mindset where, you know, I just want to be a fan of what we're doing even before it gets out there. Like, we don't want to do things because it's the sound that's popping at the time or, you know, it's what the label is asking from us. Like, most of the people that I admire that, you know, are my influence. It's like everybody is doing, going right, they go left and they just do.

amazing things that you never heard before that, you know, they made you feel something when you listen to the music and that's something that I've been pushing and trying, you know, to like get as, as, as, you know, a staple of what we do for a long time, you know, it's a, it's a process you need to play the game for a certain time and, you know, understand certain things. But, you know, to be able to talk more with the artists and, you know, just present more ideas and more you things and seeing that, you know, they're so open and excited about it. I think it's something special of, you know, this generation right now and what they're doing. So, you know, to me, it's exciting to do it.

And I think it also helps a lot, you know, the conversations. Like when I started, it was a huge, like, age gap. Like, I was 15. Most of the guys were 30. Like, we didn't really have conversation. It was mainly me just showing beats and, you know, they do their thing. and that's all the relationship probably with me. Nowadays, like, we mostly grew up listening to the same type of things.

You know, we saw same movies. We, you know, we have different stories, you know, to relate to each other. So I think that helps in, you know, the chemistry that we have. Yeah, that's a good point. When you think about maybe some of, Some of the difference isn't necessarily that somebody is better. Sometimes they're just older. Yeah.

Sometimes it's not, you know, it's not that they, it's just a matter of getting to that same age. When it's 2009, it happens, somebody wrote something sick over a sick beat. But it's not necessarily like you guys are in a room where you're like, tell me about what's going on in your life. Exactly. It's wrong about what matters, you know? Like, you can't do that.

you know exactly that makes sense why a lot of the hits are with peers that are the same age you know going back already i can't believe it was already like three years ago but when i like it came out that's like that feels like that was um you know there's sort of like the pinnacle as far as or maybe on pinnacle it's like that's like right when radio is really fully open to the idea of like if you give us a hit and they're Spanish in it, that's cool. Yeah.

Did you do anything different knowing that there were, that this was going to an artist, you know, with an artist like Hardy B versus, you know, knowing that this is going to be you know, an all Latin record? Like did you, did you

create anything that you're like, oh, the American audience really wants to hear X over, you know, if I do the Latin audience, it's going to want to hear this kind of, like you were saying, reggatone drums for hip-hop. Exactly. I mean, I think in terms of, like, I like it, it was really a big collaborative, you know, effort with, like, people from the label, people, you know, from different producers, like, songwriters, like, it was just, it was a bunch of people. And, you know, just having to start with the idea of sampling this, you know,

iconic track, it just, like, put it all out there to, to see, okay, there's something, you know,

there's going to feel, it's going to have that Latin feel, but, you know, the song is for Cardi. Like, she, and, you know,

she's mainly an American, you know, artists. She has her roots, but, you know, the people that really, you know, listen to her,

she just became this global artist. And, you know, when everybody was, like, sending down and to me of like what my approach would be, you know, coming into the song. Like, I had those thoughts of like knowing, okay, this is, is this more of an, you know, an Anglo, like, more an American,

like, album. I should like think like they think. And it's something that they told me as soon as I, you know, came in and, you know, try to help out and to bring the track, you know, to life is just do what you know how to do. Like what makes you, you, like, what makes Jay Balming, Jay Balvin what makes Bad Bunny him. And, you know, while you're doing it, you're creating it, you see that everybody just blends in together. Like, Cardi could do an amazing, you know, verse, an amazing hook on top of like a Bad Bunny Beat or a Jay Balman.

Like, you just need to have the approach of, like, doing something that feels amazing to you, like, regardless of, like, who is going for, because that's what's going to identify you and that's what's going to make this track different from what you already heard from Cardi B. And I think that's something that, you know, relieved a little bit of, you know, pressure, like, on my end of, like, trying to sound or trying to fit in or whatever and just, like, flowing and doing, you know, doing what I'm, like, been doing that I'm comfortable doing, you know, that's going to bring the best out of me. And, you know, to see how the track kept evolving and, you know, the back and forth of, like, you know, let's keep trying these

things because the song has three verses, so it's kind of like a long song. but you need to keep it interesting. So, you know, you got to keep adding those little details and, you know, just trying and experimenting with, you know, pitching down and adding a live bass on this one, adding more light percussion on this one. And, you know, just working it with stops and, you know, pitching down drums and high hats. Like, it was just a really fun and, you know, cool song to work on and, you know, to be able to see the final, you know, product and seeing what it became.

came because that song for me really, you know, it's another chapter in my career that, you know, it opens so many doors of things that I never thought would be possible, you know, to achieve. Like going to Puerto Rico, you see the hot Latin songs. That's like what, where your limit is. Like, that's where we belong or whatever. And, you know, to be able to see my song that I have, you know, at least a finger and be number one in the Hot 100 is, you know, still mind-blowing.

something that I, you know, never even having, you know, at the peak of like the dreams that, you know, we have growing up in Puerto Rico and now see that, you know, other kids will see that as something that's possible because it's been done. That's the best thing, you know, out of it. And it opens so many doors not from me just being a regitone producer to be, you know, a producer that can keep growing and, you know, keep doing things and now be able to work, you know, with a Salina Gomez and, you know, with a Justin Bieber and Maroon 5, like it's something that's insane to me.

And, you know, it's just a huge blessing. That's nuts. When you were saying that, you know, you have to make kind of left turns a lot, you know, that's, one of our friends is Phineas. And he was saying, you know, about Billy, where he was like,

you know, when, if you're kind of going to change, the game musically then if you do it well then everyone's going to copy you and then you have to make like another bold one and we have to keep doing them that's how we all uh you know that's how you stay relevant that's how you last a long time in this business is that you keep doing that do you discover that from listening to music or do you discover that from doing music do you ever fall on something like holy shit this is weird or is it like you fall in love with a certain of music. I need to learn how to do that. What is what's your method for turning left?

So I think it's a combination of both. I think I'm the people that I'm a huge fan of like I think they've been able like to do those things like in their careers and that's something that you know I eventually knew that that's what got me excited from it just like being able to listen to something that I haven't heard before and not keep listening to the same thing. like for five straight albums. So I think that's something that, you know, subconsciously was there with me, but going into doing music

and seeing that for a certain period, you know, when a song is hot, everybody wants to, you know, do the same type of vibe. And, you know, that's what the artist is going to, like, require from you. That's what the label is going to require from the artist. And, you know, it got into a certain point where that's all it was.

Like, if I did a, a beat that, you know, what's successful, everybody's going to ask for the same type of beat. Or if somebody has a successful song, like we want a song like this one. And I think, like at the beginning,

doing it because, you know, that's what's going to be paid. That's, you know, what's going to keep me working with the artist. I'll just go with the flow and just like, and do it and trying to,

you know, little by little put a certain detail that will make it different. But, you know, at the end of the day, it's keeping in the same lane. And, you know, It got to a point where it wasn't really excited to me. Like, it didn't make me feel what I used to feel when I started, like, to create ideas at the beginning.

Or when I used to listen to, you know, a Kanye West's album. Like, it's something that I wasn't listening when I started to work on these projects. And, you know, it kind of felt like the one from before. So it's kind of like realizing at that time, we need to, like, keep pushing, like, ourselves. And I start to think to, you know, to think what would, you know, Timberland say if he starts to listen to, like, the music that I've been doing and probably feel that it's not evolving. Like, it's staying in the same lane. Like, it's something that I can't have. Like, I can't, you know, I would be so ashamed of, like, being able to to probably do certain things, but not having the platform to do it.

And, you know, I just had to take, you know, that risk of just trying stuff. Probably it will take away some of the artists that I work with. And probably it's not what they're looking for. You know, it's a little bit of a sacrifice. But it will get to a certain point where they, you know, you will catch their attention. And, you know, they'll give you a chance of, you know, trying different things. And, you know, eventually it paid out for me. But, you know, it's something that I realized that's what's going to keep you.

here in the game. Like, I've seen so many people do the same, you know, beat for like 10 songs. And after like a year or two, like, they're not there anymore because the next song just came out and you just kept doing the same thing. And you just got comfortable with the same thing. And, you know, people keep asking me, like,

the same thing like nowadays, like how you stay here like, I don't know, 12, 15 years later and still, you know, be successful and be, you know, doing great music. I think it's just that. Like, just go with your, like, your gut, like, your feeling of, like, this is the type of music is making me happy. This is what I'm, you know, this is where my mindset is right now. Just like an artist when he goes into album mode, like, what are you want to talk about? Like, you want to talk about this.

This is what's going to, this is what's happening in your life at this moment. Or you're a huge fan of this type of vibe and you want to create this type of concept. Like, that's what we need to go as, you know, Latin artists and producers. and I think, you know, and I'm happy to say that. I feel we've gone into that place now with, you know, the artists that we have right now. Yeah, and a lot of the pop artists, the Maroon Five, the Justin Bieber, the, you know, Selena ends up doing, you know, kind of, obviously it's an all-Spanish album, like she comes over to you in a way, but, you know, it's a different thing when you're working on,

on like this last album for beaver was particularly poppy for him like it went from hip you know more urban to pop yeah five is just pop you know it's like you have moved in that you know you're able to play in the sandbox with those guys um do you think bringing you know what you're learning from working that pop stuff do you bring that back to the latin stuff just as much as you bring the latin stuff to the pop stuff i do man i i i just i grab a lot of you know, information from, you know, the experiences that I have and, you know, I get an opportunity also to work with more artists on the Latin side too, like not just stay with the ones that, you know, I grew up with or I grew up listening to or that I'm comfortable with. I try to, you know, expand and go into different types of sessions with maybe pop artists from the Latin, you know, side. Maybe artists that, you know, have amazing voices and, you know, they're trying to look for a different sound. And so, like, I don't go in. And, like, I don't go in. And, you know, I don't go in. just having my urban or, you know, more hip-hop, more reggaeton, like, identity to it, but also having a little bit, you know, knowledge of, like, how to work with these type of

artists and, you know, get the best out of them too. So I think it's just, I keep absorbing from both and, you know, trying to, like, merge as much as I can and trying to see what else, what different type of sound can I create from, from this. And, you know, just being, able to have, you know, those experiences is, you know, amazing to me. Well, now you've, now you're signing people. Explain what Neon 16 is and you're developing those artists and you're doing it with Lex who's, you know, an icon in the game. If you guys don't know who Lex is, explain who Lex is to people who don't know who he is,

legend. And you guys are doing Neon 16 together. So what is that? So, I mean, Lex, Lex, Lex is my, you know, he. He's my partner and within neon. He's like also my brother. And, you know, he's just an amazing guy that has had so much experience working outside in the American, you know, industry. And knowing about the ins and outs and, you know, working with so many amazing artists, working a lot of, you know, the pop side.

And, you know, now me coming from the Latin side and, you know, talking to him about, you know, how everything works and how it's been working. and how can it evolve and, you know, be better. And coming together as a team with all the knowledge that he has, you know, on the business side and, you know, creatively. And me, you know, on the music side and seeing, you know, how can we make this for the better, not just for my career, but, you know, to start to move the business and, you know, the industry in the right direction, I think is something that we had in mind as a goal. and, you know, from there eventually being able to create what, you know, what we now have, which is Nium 16, is our label, but it's also a sort of an incubator for, you know, amazing talent. And, you know, it hasn't been that long. I think it's two years, two years and a half now.

But it just felt like it's been, you know, an eternity. And we've gotten a chance to, you know, sit down with amazing songs. songwriters that, you know, become part of the family, like amazing producers that, you know, have the same mindset, the same, you know, drive, the same, you know, everything is in the same place, the same energy. And I think that's something that's really important when you're like going into, you know, be able to create with people. It's just having an amazing energy is key. And, you know, to eventually being able to work with artists, that's something that, you know, I've always wanted to do. I probably wasn't in the position before. I didn't have, you know, the knowledge.

Probably I wasn't there as a producer yet also. But to have the right team around, I think it just felt right. And, you know, little by little, we start, you know, to bring into the family these amazing artists like Chris Floyd, who's from Puerto Rico, comes from the urban side. But, you know, also have Dilan Fuentes, who's Colombian, who has more of a pop essence to him. And, you know, just to be able to relate all the information that I have and, you know, and seeing, and what ideas I can bring to the table for them to grow. And, you know, it's something special to see an artist, you know,

come from the beginning and, you know, be able to, you know, guide them in some sort of way or, you know, see how they evolve from, you know, the first day until, like, they start to come into themselves and, you know, be this amazing artist. So we just wanted to create that certain group in this generation. Like when I grew up, you know, watching, you know, Dr. Drey and, you know, M&M and 50 cent and all these guys and, you know, create a certain, you know, their team. You see Vat Boy with Didi and, you know, you see EUNI, like, you see Rockefeller, like all these

amazing iconic, you know, groups that just like left their, like, left their stamp and, you know, in our generation and trying to shift the culture and, you know, and the music into a different space. It's something that we wanted to do. And, you know, little by little, I think we've. you know, starting to give those steps. But we just want to, like, move the culture, not just like the music, but as I mentioned, you know, business side and everything for, you know,

to make the next generation, you know, better. I love that. All right, let's go to this segment. It's called Five for Five. I'm going to list five people and just tell me what comes out the top of your head. You just talked about Lex. So I'll move on from Lex. And let's start with from the beginning.

Let's go ahead. Nelly? So Nelly, Big Brother. I would say Big Brother. That's been like, that influence for me from day one. Like, I never,

I never had my big brother. So, you know, I think that's the closest that out that I would get to that. Let's go Looney Tunes. Looney Tunes are my idols, man. That's my, my, everything that I wanted to be, everything that I wanted to become.

It was, you know, the, the image of like them. you know, I feel proud that they gave me an opportunity and now they can say, like, I came from that school. So that's amazing to me. So bad bunny. Bad bunny.

I think he's a genius, man. I think he, like, I know I get a lot of credit from a lot of the songs that we do, but if you see us together in the studio, a lot of amazing ideas, even on the production side, come, come from. him and, you know, it's something special, you know, to see. So I'm always excited to work with the guy. Selena Gomez. I always felt that she's just an amazing person, but I just felt her voice is angelic. I just feel like, like, it just has a certain, like, feel to it. And, you know, you really get to see that same feel of her voice and her personality. So he's really an amazing human

being. I went on tour with her for a little bit when we were doing some sessions. And, A lot of people think pop stars are divas and here this woman would play for 20,000 people. And then there's a number of buses heading to wherever is next. And the bus she always would go to is the one that had the studio in it. Always going. She's like, she just finished an hour and a half of singing and dancing. It's crazy. And she would choose to go into the bus where they're,

making music, not the one that's like quiet. It was like she was just ready. She's just, she's like a real pro. Like as pro as pro can get, man. Everything, man. Just like, like little details as like going into our project, what we did, you know, it's her first time doing a complete, you know, Spanish album. And, you know, her first language is English.

Like that's what she's, you know, been using like most of her life, even though she has a background and, you know, her, her, you know, heritage. But, you know, to see that the first demos that we started to do, when they came back, I just had like one probably minor detail on a word that would probably could be better. But the 90% of the song was perfect. It was just mind-blowing to see, you know, because you needed to get the work ethic, you know, there and the, you know, practice and the mentality of, you know, getting the delivery right and the words right and everything, you know, to feel authentic. It was just mind-blowing that she could do it. So, man,

effortlessly. And, you know, it was really, you know, amazing to be a part of that and to see, you know, how many amazing artists we have, you know, right now. Finally, your mom. She's my everything, man. I grew up. with like just me, my brother, my mom. I never lived with my dad, but we, we talk like he just never lived in the same house as us. So, but I love my dad. He's always been a part of my life and everything. So it's not that type of story where he just left us alone.

But my mom had to go through, you know, a lot just by herself, her and two kids. So, you know, to see all the sacrifices that, you know, your mom goes. through to get you a better life and, you know, eventually helping you get to your dreams. I think that's the most special thing that anybody, you know, could do. So she's my everything. I love her. I'm a mama's boy. And, you know, I know she's proud of, like, everything that I've been able to do.

And, you know, hopefully I can keep making her proud. Thanks for doing the podcast, man. I get the feeling we'll do this again every couple years because you're going to be writing too many hits to not check in every once in a while. But you know, you're doing exactly what, you know, Nelly and Loonie tunes did for you. You're doing exactly what you just talked about with your mom. You know, you're creating an environment where you can incubate your, young talent and lead them. And you're, you know, you're so wise for the amount of time you've lived on this planet

because you've been professional for so long, you're leading like you're somebody who's 50 at 31 and creating music like you're still a kid. It's like it's really impressive. It's fun to watch. You know, it's just, it's just awesome, man. So congratulations on everything. You're really earning all of it. By the time this gets released, I mean, I don't know how many weeks it'll be that you'll be at number one.

You'll probably be like sick of it and whatever. But it's just you're earning all of it, man. It's really fun. So congratulations. No, man. Thank you so much. I had a blast. And, you know, I can't wait for the next conversation, bro, anytime.

And so grateful, you know, for the opportunity to have me here. And like you said, bro, I hope I can keep. keep, you know, making you proud and everybody with, you know, with more amazing music. And, you know, thank you so much for the time. And, you know, keep killing it yourself. Thanks for listening to this episode of And The Writer is. If you want to hear music from this songwriter I just interviewed, be sure to check out our Spotify playlist or visit our website at and thewriteris.com.

If you like what we're doing, please subscribe to us. You can also like us on Facebook and Twitter. and the writer is is produced by Joe London and published by Big Deal music A special thanks to David Silverstein from Mega House Music and Michael White. Until next time, this is Ross Golden.