Republic Records


Selling out shows across the country and achieving multiplatinum success by paving a path of his own, SoMohas quietly emerged as R&B’s most successful underground superstar. Now, it’s time for the world to properly meet the Dallas, TX singer and songwriter born Joseph Somers-Morales on his second full-length album, The Answers [Republic Records].

“Over the past two years, I really dialed in all of the different aspects of who I am as a man and tried to represent every facet in the music, production, and lyrics,” he exclaims. “This is the evolution of SoMo. I’ve seen so much of the world and come back to Texas. I’m really telling my story.”

It’s been nothing short of a whirlwind for the artist since the 2014 release of his self-titled debut, SoMo. The record clinched #1 on iTunes Overall Top Albums Chart, and the hit single “Ride” earned an RIAA double-platinum certification. Between sold out headline tours and collaborations with everyone from Jeremih, Ty Dolla $ign, The-Dream, and Trey Songz to Kirko Bangz, Vigiland, Rebel, and Tricky Stewart, SoMo put impressive numbers on the board, selling 393K albums and counting and 4 million singles in addition to amassing 290 million streams. His 2015 mixtape, My Life II, went Top 10 on Billboard’s Top R&B albums chart as he appeared on VH-1’s Big Morning BuzzThe Arsenio Hall Show, and BET’s 106 & Park

Along the way, he carefully assembled what would become The Answers, recording in Atlanta, Los Angeles, Texas, Toronto, and Florida. SoMo found new influences that encouraged him to embrace his core.

“Listening to artists like Post Malone and Kehlani inspired me to go back and just approach this as who I am,” he admits. “It’s not about fitting in, but rather just being myself.”

During early 2017, he introduced the album with fiery, fun, and flirty “Play” [feat. Maty Noyes], which registered over one million plays in one of weeks’ time. Appropriately arriving for Valentine’s Day, the first single “Just A Man” evokes early nineties R&B with its resounding piano chords and handclaps as SoMo’s voice soars on the confessional hook, “I’m just a man, and you are my world.”

“I like to call it ‘the trendy, timeless SoMo,’” he laughs. “It’s sort of what we got with ‘Ride.’ It doesn’t matter when the song’s released; it works. Obviously, I’ve been somewhat of a ladies’ man. I am a lover and a romantic though. I’ve fallen in love and been madly in love for long periods of time. I wrote that song at Jim Jonsin’s studio in Florida. I remember sitting there for a few hours with the melodies. Then, I dove deep into the words. I wanted to express being apologetic—not just on behalf of myself but on behalf of all men. I’m only human. It’s me making a mistake and owning up to it.” 

Then, there’s “Over.” It’s upbeat energy shuffles into another anthemic refrain courtesy of super producer trioCaptain Cuts [Walk The Moon, Tove Lo, Halsey, Bebe Rexha]. “I was coming off that ‘Just A Man’ vibe, but it’s a different side, because I’m saying, ‘It’s not my fault’,” he goes on. “She’s the one saying it’s really over, instead.”

Continuing to grow and evolve, the album title The Answers encapsulates his journey thus far. He admits, “It was my search to find the answers inside myself and inside these songs. The whole point is we keep going and searching.”

He’s inviting listeners along for the ride again. “I want people to listen to it in full and feel like they’re leaving a movie afterwards,” SoMo leaves off. “It’s me in the moment.”

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The Score



We started writing together six years ago, and had no idea where it would take us. Just two dudes in New York, learning how to write and produce. We wrote a lot of bad songs, and tried a lot of different things. We moved to LA and wrote more songs, and tried more different recording in Edan's bedroom closet. And one pop song we wrote happened to land in a commercial, and that commercial happened to be really big. 'Spotify Viral #1' big. 'Major label record-deal' big. 'Worldwide booking agency' big. And all that was really cool, but we had a problem - we weren't actually a pop band.


We like guitars. We like rock and roll. And we like it loud. So we started doing what we like, and it's been pretty damn cool so far. Our new EP Myths & Legends is four of the most honest songs we've ever written, and we think our fans reactions say it all:


"Who ever Disliked song, I will find you and force you to listin to this song Intel you regret your life choices." - Chase Cornett

"The best song I have ever heard" - Mr. Nightmare


"The Score=GOAT 'Like' if they never disappoint you!!!" – DawnCS


We hope you like the new music, but if you don't...Chase Cornett will find you and force you to listen to it until you regret your life choices.


- Eddie & Edan ** THE SCORE


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International musical sensation Mika opened his career in 2007 with defining single Grace Kelly, which sold over 3 million copies worldwide and was the second British single ever to top the chart on downloads alone.

The debut album, Life In Cartoon Motion, went straight to #1 in UK and 11 other countries, going on to sell over 7 million copies worldwide, plus over 6 million single sales.

His 2nd album The Boy Who Knew Too Much went top 10 in 11 countries and his 3rd, The Origin of Love released in 2012, saw collaborations with Pharrell Williams, Nick Littlemore and Ariana Grande, amongst others.
Mika has been nominated for and won awards from the Brits, the Grammys, the Ivor Novellos, World Music Awards and MTV’s Europe, Asia, Australia and Japan, Capital Radio Awards, Q Magazine, BT, Vodafone and Virgin Media, amongst others. He is also the recipient of the prestigious French award “Chevalier dans l’ordre des Arts et des Lettres”.

His contagious joy and colourful performances have delighted audiences from the beginning and have led to sold out tours worldwide. His videos have racked up an impressive total of over 250 million views!

Mika has now sold over 10 million records and has Gold or Platinum awards in an impressive 32 countries worldwide. As well as being a songwriter and performer, Mika has designed clothes and accessories, is a writer (including magazine columns, blogs and work on a book), illustrator and artist. He is currently working on his 4th album.

The story of Mika……

Both astonishingly musical and profoundly thoughtful, his tunes combine a heady euphoric rush with darker unexpected elements: daytime melodramas and night-time tales of love, loss, abandonment, hope and happiness. Throughout his many releases, these themes all run together for attention, each one a golden nugget.

Mika is a true young internationalist. Born in Beirut in the middle of the 80s, Mika’s family soon found themselves having to move to Paris at the height of the war. When his father was subsequently taken hostage and held at the American embassy in Kuwait the family eventually settled in London. An inevitably turbulent experience for a young Mika, he found himself bereft, lost in the chasm of a displaced upbringing. “It was the combination of moving as well as a horrible time I had at school in the first few years of living in London that lead me to forget how to read and write, and stop talking for a little while.  I was pulled out of school for over six months; in order to sort my self out and find a new school.  This is when music really became important. It got me back on my feet.” He says now that by the age of 9 he knew that songwriting was his destiny. The electric performances that would win over some of the most hardened musical ears on the planet would come later.

“After I started singing as a boy I started to get jobs everywhere.  With the help of a terrifyingly tough Russian singing teacher, I got to be really good at professional gigs.  I did everything from recordings with the Royal Opera House to the Orbit Chewing gum jingle.  I’ll never forget calling up British Airways to get a ticket, only to be placed in a line, listening to my own voice! That was a painful 8 minutes.”

A self-taught piano virtuoso, gymnastic vocalist and born entertainer, Mika has music in his bones and at a prodigiously young age he was ready to go. Mika wasn’t hunched over a radio under his bedclothes or seduced by the glitz of “Top of the Pop’s” on the TV screen when he had his first performance awakenings. Instead, he was catapulted onto the stage of a Richard Strauss opera at 11. David Hockney was pottering around at rehearsals in the background, with models, designing the set (Mika still has the poster for the opera on his living room wall now, signed by Hockney). After near complete social exclusion at school – “I wish I could say I was a self-imposed loner but it was imposed on me” – this was a life he fell in love with, instantly: “It was a magical world that you could live in. A parallel universe for people that is illusory and enchanting and amazing.”

“I grew up listening to every thing from Joan Baez and Dylan, to Serge Gainsbourg and Flamenco. My musical tastes have become more eclectic as I’ve got older, but I’m always going back to great artist songwriters, people who make great records to their own vision.  Prince, Harry Nillson, Elton John, Michael Jackson.  These people make amazing pop records that couldn’t be performed by anybody else and that’s what I always wanted to do.”

However, this musical vision might never have been realised. At 19 he left home to study for an academic degree at The London School of Economics. He quit on the afternoon on the first day and enrolled at The Royal College of Music two weeks later. An obsessive songwriter as a student, he would gate-crash parties and take to pianos to deliver 5 song sets, unannounced. One such occasion led to an early development deal, which he now sees as essential to his progress as an artist. Amidst the struggle to get his own voice and vision heard, he wrote what quickly became his signature song, “Grace Kelly”, a spoof 4/4 opera set to a technicolour pop backdrop. “It was a f***-off song to people that I was working with at the time,” he explains now. “It is where the line ‘shall I bend over, shall I look older, just to be put on your shelf’ comes from. I was so angry. That company had every resource except a soul.” The infectious pomp and deliriously catchy chorus of Grace Kelly became a benchmark for where he wanted to go. “You can’t be afraid to stand out. If no one was going to take a punt on it, then so be it. I would do it myself.”

Unafraid to stand alone, his intimate first person and third person storytelling connect with outsiders while subverting the mainstream from within. Attention to detail. Personal care and attention. Making sure everything is sitting in the right place. These are the watchwords at Mika’s heart. His artwork, developed with his older sister Yasmine, is the first key that unlocks his work – and the music will do all the talking.  Enveloped in an imaginative musical world of his own creation, he is one of the few British male pop stars of his age that doesn’t run with the pack. Classically trained, racially mixed and prone to theatrical physical gesture, he has become a scion of ambitiously delivered self-expression. He says his music can be condensed easily, ‘the basic principals are that it is joyful and empowering and doesn’t cowtow to fashion or convention,’ calling to mind an old and almost forgotten pop notion: individuality.

If his debut album ‘Life In Cartoon Motion’ was the brazen calling card of this individuality, then its follow up, ‘The Boy Who Knew Too Much, was the maturation of an unapologetic pop sound that he made entirely his own. ‘My biggest mindset when I set about making (TBWKTM) was not to be reactive,’ he says, ‘I had to go back to the start, when people hadn’t given me their opinions on what it is that I naturally do.’

Second time out, the songs may be different, but the attitude remains the same. With huge choruses, nods to 40’s Disney soundtracks and 80’s synth-pop, up-beat disco and melancholy reflections on personal experiences, Mika’s music continued to be underpinned by an open-hearted and accepting idea of what living in the 21st century means in all its contradictions and complications.

‘The first album, to me,’ he continues, ‘was about childhood. It had that innocence. For this one we have moved on ten years and into the adolescent mind. Adolescence is one of the most glorious times in your life. It is when those life experiences, like sex, drugs and relationships, are still new and untainted. If I was to think about these things in song I knew that I had to become more personal.’ Mika has stepped aside from the character based storytelling of Life In Cartoon Motion for album number 2. ‘I still believe in mystery and I don’t feel like I have to justify anything about my life anymore. Because it is all in my songs. Songwriting for me is a way of catching up with myself.’

Part of the beauty of Mika has always been attempting to trace the correlation of his own personal insecurities or hang-ups into the choice of characters that he sings about. They often revel in or battle with their own difference, something he has done since he was a child. That outer layer has been replaced, but there is no lesser sense of grandeur or intrigue to the new, more open performer. A generic call to arms for people to throw a little glitter on their differences and celebrate them has been one of pop’s most tremendous gifts to music. Mika’s come with their own unique darkness too.

At the start of 2011, Mika packed his kitbag to travel to Montreal to make his third record. The music that he had pulsed around the globe as an artist had been fuelled by ringtone appropriate hooks, streaming out of his musical mind like twisted nursery rhymes. In Montreal, that was all about to change. The sounds made by Nick Littlemore, the Australian electronic pioneer behind Pnau and Empire of the Sun, had caught his imagination and Mika went in search of this potential new collaborator. ‘Before meeting Nick, I was my own taskmaster,’ he says now, ‘I didn’t know how else to work. I was a 22 year old making up sounds in the corner.’ It was just Mika, his piano and his imagination. In the intervening five years since Grace Kelly went astronomical around the world and span off two multi-million selling albums and five global tours in its wake, a personal shift had occurred. As a songwriter and human being, Mika had grown up.

For album number 3, a sensational collection of nimble, multi-faceted and spruce electronic noise has been fashioned. As a counterweight, Mika found himself enthralled by the Laurel Canyon sound of the 70s, the airily utopian noise of pastoral idylls in a new bohemia. These two strands have fused to form a sweet, harmonious new soundbed for Mika’s songwriting. A certain lightness of touch has been found, though always adhering to Mika’s clever signature rule for the record: ‘A lightness of touch does not have to mean a lightness of substance.’ Within all this something intentionally intimate emerged. Mika matured into an artist that no longer needed to hide behind costumery and artifice. In fashioning this acoustic/electronic sound-clash with Nick in Montreal he ironically made his most human sound – on The Origin of Love, his imagination has been fuelled by reality, not fantasy.

‘In a strange kind of way it makes sense. It was about expanding my musical horizons. Nick allowed me to go somewhere I hadn’t been before. There’s more humanity in taking a sound you have made and manipulating it electronically or digitally than there is calling up a session player and asking them to play bass guitar for twenty minutes and taking what you want from that and putting it on a record. I loved the atmosphere Nick curated in the studio. We danced. You don’t dance when you are alone. It made me feel endless. It was a great starting point to be in a studio set-up where everything felt possible and there were no rules.’

A brace of songs emerged in Montreal, fluctuating on the subject of love, tolerance and joy. First single Celebrate could not be more joyous in its evocation of the transformative powers of love, a call to arms in a cynical world. If Celebrate is The Origin of Love at its most straight-up dance-pop, Lola is the acoustic-driven Fleetwood Mac-inspired flipside given free reign.  He found inspiration from unusual triggers. The rasping build of Heroes was summoned from reading an A E Housman poem on returning war veterans. The hypnotic swell of Underwater was inspired by a 90s Michel Gondry denim ad, a seemingly slight but beautifully realised 90 second polemic on the idea that when you are in love it consumes you so much you can breathe below sea level. ‘That is exactly how it feels,’ he points out. ‘That undercurrent of ecstasy will see you through anything. I had removed myself from the isolation of being alone in front of a piano.’

‘I am a difficult artist,’ he says, ‘I know that. I make artist-driven, alternative pop music. I do this sincerely, in a time when so many album statements are incomplete and insincere. I am not from the Brill Building school of pop. These are my own statements.’ Inspired by the incredible human emotions conjured in electronic experimentation by Laurie Anderson and Steve Reich, Mika wrote his most open-handed and clear love song yet – Make You Happy, opening with a robot voice repeating the line ‘All I want to do is make you happy.’ It was released virally as a taster for what was to come. ‘This was about people being able to approach my music clean. The first bit of new music that anybody heard around the world was sang by a robot. That was cleansing. It is quite fundamental to the philosophy of this record. My campaigns are slow, sometimes quite hard. I make alternative pop music that’s not easy to promote. But if it wasn’t hard then I wouldn’t be doing it. It’s every single fibre of my being. There is nothing else.’

The Origin of Love was a deeply important record in the career trajectory and personal journey of Mika. ‘What we have done here is joy catching. Every moment on the record reflects how joyously I feel about my life and what I do.’

2014 and the start of 2015 saw Mika working tirelessly on his fourth studio record, ‘No Place In Heaven.’ Mika enlisted long-time collaborator and Grammy nominated producer Gregg Wells (Katy Perry, Pharrell Williams, Adele, Rufus Wainwright) to produce the new album.  The pair created a mature new record that exhibits Mika’s incredible song writing talents and breath-taking vocals, evoking memories of classic 70s pop albums created by acclaimed song writers Billy Joel, Todd Rundgren, Elton John etc. The album was released to critical acclaim in June 2015.

Mika has spent the past couple of years conquering the hearts of audiences across Europe, appearing as a judge on the X Factor Italy, a coach on The Voice France and topping the charts in France with the release of “Boum Boum Boum”.  In addition to his musical achievements, Mika has been working closely with global watch company, Swatch, as their creative ambassador to create some unique designs for their collections.

Following the release of the record, Mika went straight to work with a summer of festivals, a European tour in the Autumn and another season of XFactor Italia underway, as well as undoubtedly a few surprises….. The year ahead is set to be an exciting one!

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Matt Simons

Even without a record label or traditional backing, Matt Simons had already been heard around the globe.

After being noticed from a Facebook ad he created for his independent album Pieces, the song “With You” received a high-profile 2013 placement on one of the biggest Dutch soap operas. Before the Northern California-born and Brooklyn-based singer-songwriter knew it, he began selling out shows in Europe and was serving as guest judge on the Netherlands X-Factor, while “With You” went platinum in Holland and earned the unofficial title of the country’s “most played funeral song.”

“As strange as it may sound, that was the ultimate compliment,” he says. “My music was being used to celebrate legacies. The fact that people could be that affected by a song I wrote was incredible to me. I didn’t know that’s what I loved about writing so much, but I learned it.”

His 2015 single “Catch & Release” and its (Deepend Remix) have proven he’s got songs for more than one occasion. The remix has gone #1 on Spotify’s Viral charts in 10 countries, peaking at #16 on the Global Viral chart. It hit the Top 200 on iTunes in 28 countries, racked up 8 million Soundcloud plays, achieved a gold certification in Holland, and was added into rotation at SiriusXM Chill. Cumulative Spotify plays between both versions exceed 8 million and counting. Meanwhile, the remixed version hit #1 twice on HypeMachine. As the track caught fire, Republic Records signed Matt and gave it a formal release.

A marriage between styles, “Catch & Release” lithely balances a deep house soundscape with finger-picked acoustic guitars and Matt’s soulful crooning.

“’Catch & Release’ is about the common shared struggle of the grind and how everyone’s got their own way of dealing with it,” he explains. “Some people will go for a run, or others will have a drink, etc. It’s whatever your way of releasing all the tension you build over the course of any given day. We wanted to do something different with the remix. The dance community seems hungry for songs with a deeper meaning. It felt really natural.”

That’s because Matt’s the real deal. Music’s a family tradition as both of his grandparents were professional opera singers, and his dad shared a love for The Beatles and the classics with him early on. Playing saxophone his whole life, he got a degree in Jazz Saxophone Performance at The Purchase College Conservatory. That background ultimately gave him the foundation to write these kinds of songs.

“I won’t ever lose that influence,” he leaves off. “I started off with jazz and those rhythms and patterns have been ingrained in me. Now, my main focus is to continue writing these songs that really can resonate.”

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Marian Hill

ACT ONE, the debut full-length from songwriting duo Marian Hill, was written and produced in its entirety by Jeremy Lloyd (music/lyrics/production) and Samantha Gongol (music/lyrics/vocals).

The multi-talented duo, who have been collaborating in one form or another since high school, have shifted the classic paradigm of a woman on a stage and a man with a piano to a woman on a mic and a man with a laptop -- and the results are seductive and vivid. Tempting paradox with a blend of blues and bass, acoustic and digital, classic and modern, Marian Hill have arrived.

Two years ago Sam and Jeremy wrote and recorded “Whisky” over spring break in Jeremy’s parents’ basement. When they released it for free on Soundcloud later that summer it was the only song they’d written for the project, and in a little over a year’s time they had recorded their first EP in a bedroom, amassed millions of plays on various platforms, sold out shows across the country and featured in high profile commercials. They signed to Republic Records in early 2015, released the Sway EP, and settled in to write and record their debut album over the course of the following year with a plan to push their unique sound to its fullest potential.

For the first 50 seconds of “Down” you might think you’re at a supper club in the 1920s, but when the bass drops out of nowhere you couldn’t be anywhere but 2016. ACT ONE then takes you on a journey through the complexities of modern relationships, with each song inhabiting a specific and charged relationship lyrically, melodically, and sonically. “I Know Why” constantly transforms and reinvents itself as the vocals grapple with a secret while “Mistaken” is the hardest of sax trap with a classic songwriting backbone. “Same Thing” is the saddest part of the album, a haunting ballad depicting serene resignation of a doomed relationship, but castanets rise from the ashes as “I Want You” closes out the night in a pure moment of optimistic electricity, a glance across a crowded room that changes everything.

Marian Hill’s one of a kind sound is present throughout — blues harmonies blend with sparse hip hop drums, horns blast under classic vocal melodies, and soloistic vocal chops sit side by side with clear, intimate lyrics. You’ve never heard this before, yet it’s surprisingly familiar. And it’s only the beginning.

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Marc E. Bassy

Walking 450 miles down the California coast to clear your thoughts and film a music video might sound a bit insane, but that’s the length singer-songwriter Marc E. Bassy goes to for his art.

A true creative, Marc cites making music as necessary to his health and well-being as food, shelter, or sex. Marc's knack for penning honest, catchy, and heartfelt tunes has served him well for the past several years. The San Francisco-born and Los Angeles-based artist has made quite a name for himself, composing hits for the likes of Wiz Khalifa, 2 Chainz, Chris Brown, Allen Stone, and pop princess PIA MIA, founding the chart-topping pop group 2AM Club, and releasing an independent EP, Only the Poets, which was acclaimed by Billboard, Complex, and SPIN in 2014. However, it was in early 2015 when Marc truly honed his sound while working on music as a form of therapy while crashing at a friend’s pad in downtrodden East Hollywood.

Having recently broken up with a long-term girlfriend and with his band of 10 years, Marc found the strength and inspiration to cope by going through a period of self-medicating and non-stop partying, followed by binge-reading his favorite authors Charles Bukowski and Henry Miller (with whom he felt a special connection, because they too, had experienced the lowest of lows while staying in East Hollywood). Feeding this need to create, Marc got down to songwriting again, but this time with a renewed vigor to zero in on his personal sound. “I had been writing songs for other people for so long that I got a lot of practice,” he says. “Once I started focusing on my own music again, I finally realized how to combine that element of making something stick with my own voice. This style of music was what I’d always been chasing.”

The product of his creative revelation, East Hollywood, crystallized Marc’s approach. Co-produced with Count Bassy, the five-song set cumulatively amassed 1 million Soundcloud plays-and-counting over the course of the summer and caught the attention of The Roots drummer, Questlove, who personally requested that Marc perform at his annual Roots Picnic outdoor festival. Friend and recent collaborator Kehlani followed suit when she asked Marc to open for her West Coast tour. Republic Records took notice, quickly inking a deal with Marc to give East Hollywood a proper commercial release on December 18th, 2015.

Featured on the EP, Marc teamed up with Ty Dolla $ign to write and produce “That’s Love” – a melancholy song written about vulnerability, trust, and unconditional love that combines boozy, bass-heavy production with brutal honesty and sexy storytelling. Originally written as a song for Ty to use, Marc ultimately kept it for himself at Ty’s urging. True to Marc’s form, the song possesses two elements of his signature style – the subject matter embraces the good, along with the bad and ugly, while the lyrics are autobiographical yet relatable. Marc explains, "That song is about young love. There’s no better feeling when you and your significant other are going crazy, yelling, and fighting just because you fucking love each other so much.”

Fresh off the ‘When It’s Dark Out’ tour with G-Eazy and A$AP Ferg, Marc is only picking up steam. Writing his best, most authentic music to date while hitting his stride on stage, Marc approaches the journey ahead with true artistic perspective. He’s letting the feelings evoked from his realest, most personal experiences drive his music – He holds nothing back. Once, Marc even admitted that he loves having his heart broken. Why? “It makes you pick yourself off the floor and do better,” he says. “I’m not afraid to be myself on a record and use the voice I’ve got. I want to share something honest with them and hope they become inspired to be themselves. I want people to feel.”

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Julia Michaels

There are artists who have undeniable star power, vocal prowess, and magnetism, and there are songwriters who have the uncanny ability to write hit songs – With Julia Michaels, comes the rare talent where the two collide. 

Julia Michaels has always been a songwriter. Having an early fascination with words, Julia has spent her young life quietly honing her craft, writing songs that carry complex emotion and powerful vulnerability. The difference maker – these songs happen to have an innate knack for translating into multiplatinum hits.

Julia has solidified herself as one of pop music’s most in-demand songwriters, co-writing a string of Billboard Hot 100 hits alongside Justin Tranter—including inescapable smashes like Justin Bieber’s “Sorry,” Selena Gomez’s “Good for You” [feat. A$AP Rocky], Hailee Steinfeld’s “Love Myself,” and more.

But a song written by Julia Michaels is not just a hit – it is Julia Michaels. It’s a piece of her.

Drawn from real experiences and feelings, Julia’s work effortlessly flows out of her inner being. There’s not a formula for this kind of songwriting. It’s a personal process, one that has become so intimate she can’t let go. 

It wasn’t until recently that this attachment to her work really hit home. After writing one of the biggest pop hits of the last year, and after giving it away, Julia recognized her deeper desire to be an artist – to use her voice to sing her songs. 

“When I found out someone was recording it, I cried in the bathroom for an hour-and-a-half,” she says, “I didn’t want to admit it to myself. I had shunned the thought of actually being an artist for so long. I only thought I could be a writer, but I just realized how much that particular song felt like me. I thought, ‘Maybe there’s something missing.’ I had to make a change.”

Though obvious to anyone who’s seen her in the studio or on stage, Julia has come to the realization that the time for this change – from writer, to singer-songwriter artist – is now.

After relocating from Iowa, Julia spent her childhood in Santa Clarita, an L.A. suburb known for Magic Mountain, where she opted to be home-schooled in order to spend every free minute writing poetry and lyrics. Julia then met Tranter in 2013 and began the songwriting partnership. By 2016, Julia inked a deal with Republic Records and began working on her forthcoming debut EP.

On the first single “Issues,” her powerful, poignant, and passionate voice spins a tale of relationship trials and tribulations before shining light at the end of the tunnel.


“My boyfriend and I like to fight a lot,” she says. “I have a lot of problems. He has a lot of problems. Somehow, we always work them out and find a way back to each other. ‘Issues’ is knowing and accepting you have problems and your partner has problems and when shit gets hard, you don’t just walk away, you make it work—no matter how fucked up you are. You’re there for each other.”

With “Issues,” people will really get to hear Julia for the first time; and it’s a wonderful thing.

Julia gave the world a preview when she performed “Carry Me” with Kygo at the 2016 closing ceremonies of the Olympic Games in Rio. Singing in the pouring rain in front of tens of thousands, Julia looked as at ease as if she were in the studio in LA with Tranter. When a star like this is born, all anyone else has to do is sit back at watch. Because when Julia Michaels sings her songs there’s tangible meaning that fills the song, fills the studio, fills the stage. You can feel a Julia Michaels song.


“When I’m writing for myself, I don’t have to worry about what I say,” she leaves off. “I’m a very emotional person, and I put it all out there. My music will always be something you can feel whether it’s something sexual, something that pulls on your heart, or something fun. You’re always going to feel it.”


She may not have known it until now, but Julia Michaels the artist was always going to be. She’s undeniable. It was only a matter of time.



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"Issues" Two Times Platinum
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Jordan Smith

Jordan Smith showed the world his musical gift in 2015 when he became the “Best-selling artist in the history of The Voice” and the winner of Season 9.

Now, he shares his message through the songs on his forthcoming 2016 debut album for Republic Records/LightWorkers Records—Something Beautiful.

“It’s extremely important for me to let everyone know it’s OK to be different,” he affirms. “I feel like it’s taken a long time for me to love different parts of myself. The world is hurting and searching, because we think there are flawed parts of who we are. It’s important to accept yourself and have confidence, and then you can love others.”

Jordan’s honesty made history. Not only did he cement himself as The Voice’s biggest seller, moving 1.5 million singles in 6 months, but he launched 8 songs to the Top 10 of iTunes— the first artist from any season to hit the iTunes Top 10 every single week of the Live Rounds. He also became “one of two The Voice artists to notch three #1s during the show’s season.” Meanwhile, he’s “the first act to own both the #1 and #2 titles concurrently on Billboard’s Hot Christian Songs Chart.” The singer and performer has certainly come a long way from his native Harlan, Kentucky.

In a “close knit town where everyone knows everyone,” Jordan found himself surrounded by music at home. He constantly sang with his family, whether harmonizing in the car with his mom or singing in the church choir. At the same time, he fell in love with the likes of gospel singer Shirley Caesar, pop songstress Sara Bareilles, the legendary Whitney Houston, and more. This diversity would inform his own sound and style.

In high school, Jordan’s music teacher noticed his talent and encouraged him with one-on-one training and a place to practice. After graduation, he attended college, pursuing a major in Music Business. In 2014, he decided to audition for The Voice following years of fandom.

“I’ve been a fan since season one,” he goes on. “So when auditions came near my school, I had to try out. We signed up the day before and drove all night to Nashville. I actually got a call back, but when I did the private audition, I never heard anything. I was a bit disappointed, but inside I thought I was meant to be a part of it. It just wasn’t the right time.”

The right time serendipitously came a year later when a talent scout reached out. Jordan made it to the show, joined Adam Levine’s team, and eventually emerged as the 2015 victor. Following the season’s conclusion, he headed right to the studio with legendary Grammy Award®-winning producer David Foster [Céline Dion, Michael Bublé, Josh Groban], Academy Award®-nominee and songwriter extraordinaire Stephan Moccio [The Weeknd, Céline Dion], and Grammy Award®-winning artist and writer Kirk Franklin [Gladys Knight, John Tesh] in order to begin work on Something Beautiful.

“This is a dream come true,” he smiles. “These guys are all geniuses, and feeding off their wisdom is so special.”

Also a part of that “dream team” are legendary Emmy Award-winning producers Mark Burnett and Roma Downey. The record will be the first release on their new label LightWorkers Records. Inspired by Jordan’s talent and energy, they’ve stood in his corner since the moment he emerged on The Voice. Now, Something Beautiful highlights his immense vocal prowess.

Jordan’s robust delivery breathes a new kind of soul into timeless classics such as “Over The Rainbow” and “Amazing Grace” as well as Maroon 5’s “Love Somebody,” Florence + the Machine’s “Dog Days Are Over,” and “Christina Aguilera’s “Beautiful.” It’s the original material where both the vision and voice shine the most.

The first single is the Moccio-produced original “Stand InThe Light.” Violin, piano, and guitar etch together a warm sonic backdrop as Jordan’s voice takes flight on the uplifting refrain, “This is who I am inside. This is who I am I’m not gonna hide.”

On another Moccio collaboration, “I Got To Be Me,” he sings, “How can you love someone when you can’t love yourself?” Jordan admits, “That’s big for me. It’s how I feel. Once you open up your heart, you can love others.”

“The medium is music, but the message is the most important thing to me,” Jordan leaves off. “I want this record to inspire people. Some of these songs are about love, some are about strength, and some are about personal experiences. Music is a very powerful tool. I’m thankful and blessed to use it in order to spread hope."

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John Mellencamp

John Mellencamp continues to evolve artistically with Plain Spoken—the first new music from the artist since 2010's critically acclaimed No Better Than This, which debuted in the Top 10 of the Billboard Top 200 and received the honor of being on Rolling Stone's "Best Albums of 2010" list.

The Grammy Award-winning Rock and Roll Hall of Famer has created an important body of work that has earned him both critical respect and an enormous audience.

An authoritative and eloquent storyteller who speaks to the sensibilities of the nation, John Mellencamp is also one of the most successful live concert performers in the world. A man with a conscience, he used his visibility and influence to advocate an issue that hit close to home and became one of the founding members of Farm Aid, an organization that began in 1985 to raise awareness about the loss of family farm. The Farm Aid concerts have raised over $45 million to promote a resilient family farm system of agriculture.

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Jamestown Revival

The story of Jamestown Revival feels suited for the dog-eared pages of a timeless American novel.

Chapter one opens with Jonathan Clay and Zach Chance meeting in Magnolia, TX at 15-years-old. Fast friends, the duo attended college together, started Jamestown Revival, and traded their home state for Los Angeles, CA in late 2011. By 2014 they released their debut album UTAH (which included the hit single ‘California’), built a committed fan base with countless road shows, and received critical acclaim from the likes of Rolling Stone andThe Wall Street Journal. They were named iTunes “Best of 2014: Singer-Songwriter Album of the Year,” graced the sound stages of Conan and The Late Late Show with Craig Ferguson, and performed at some of America’s legendary music festivals including CoachellaAustin City LimitsBonnarooBottlerock Festival, and Willie Nelson’s Fourth of July Picnic. 

UTAH opened a lot of doors for us and put us on the road for the first time,” says Zach. “We learned how to play for a crowd and how to perform.”

But when it came time to record a second album, the band found themselves in a different place.

“This album is like chapter two,” agrees Jonathan. “The story begins at the point where we decided to head back to Texas. We wrote many of the songs when we were entering a different phase of our lives. We settled back into Austin, and my wife and I had our first child. That was a big shift. It was all about leaving behind our last bastion of adolescence, if you will.”

This process resulted in The Education Of A Wandering Man [Republic Records], an album that looks back at the journey of the band’s past. The record chronicles the lessons learned and the experiences that color the life-lived along the way.

“This album is a snapshot of our observations and learnings over the past four years.  Our education has been gained not in a classroom, but in our experience,” Zach and Jonathan write in a letter to fans announcing the album.

Musically, the record remains loyal to Jamestown Revival’s indie rock/alt country aesthetic while also reaching into new creative territory.

“You can hear all of our influences on the new album. It feels like a late night drive after a show. There’s some Motown, rock ‘n’ roll, and even a little country. We paid homage to a lot of the people we listened to while stuck in a car between gigs,” says Zach.

Tapping into almost a lifetime of natural chemistry, the band started sharing musical ideas while sitting on Jonathan’s porch before holing up in a Hill Country farmhouse a few hours from Austin for recording. Producing themselves alongside longtime collaborator Ryan Lipman, the sessions lasted only two weeks, and Jamestown Revival emerged with 12 new tracks.

“It was a bunch of good friends in a relaxed setting making a record,” says Zach. “It never felt like a nine-to-five. We could have a smoke outside, play horse on the basketball hoop, and hang out and wait for the muse to find us.”

Though the record came together quickly, nailing down the first song proved more difficult. After wrestling to overcoming the pressure, the band emerged with their first single “Love Is A Burden,” kick-starting the creative process.

 “We wrote that song about our last single ‘California’,” admits Jonathan. “When we started writing, all we did was compare every song we wrote to ‘California.’ We never thought anything lived up to it, and that started to squelch our creativity. This piece of music that did amazing things for us became like a lead weight. ‘Love Is A Burden’ is about the successes, the failures, the triumphs, and the fears of the past really starting to weigh you down and having a hard time moving on. It’s a metaphor we related to a relationship you can’t move past in the lyrics. As far as inspiration goes, the chorus just popped in my head, and we ran with it. After all of that overthinking, it was done in ten minutes.”

Album opener “Company Man” captures the heartbreak of corporate greed. “My family’s got some land where we birthed the idea of Jamestown Revival, and we’ve both been going there together since we were kids,” says Jonathan. “"One day my family gets a call that there’s an oil company who wants to put a pipeline right through the property.  They were doing it under the protection of ‘public domain’. That piece of land is sacred to us, but ironically, nobody else cared about it until there was something to gain.”  Company Man speaks to that feeling of helplessness and frustration.

“American Dream” comments on similar themes, while “Head On” explores the claustrophobia of the concrete jungle. Elsewhere, the acoustic-driven “Back To Austin” serves as an upbeat love letter to their hometown. Throughout, the record speaks to themes inherent to the meaning within its title The Education Of A Wandering Man.

The Education Of A Wandering Man is actually an autobiography by classic western novelist Louis L’Amour,” Zach says. “He traveled the world and lived a fascinating life. Jonathan and I read the book years ago and fell in love with it. It’s like looking back on a life unplanned. That really resonated with us when we were making the album. The more you travel, the more perspective you get. Our travels have been an education.”

For Jamestown Revival, the album is simply a continuation of their ongoing story. “We’ll be writing and telling stories until we’re six feet under,” Jonathan leaves off. “This album is just the next step on the path.”

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