How did you get your start in the music business? And did you always know that publishing was the sector you wanted to be involved in?
I’d always been interested in L.A., because I knew that was where a lot of the studios, writers, and producers were. It was amazing because I got to meet a lot of the OG Prescription writers through that job, as they would write for various Atlantic projects.I joined the Prescription team early on. At the time [seven years ago], I was the first A&R to join the squad, and it’s been so crazy to see it grow since then.There are more and more coming up now, which makes me so happy to see.
For better or for worse, we don’t have the massive back catalog that a lot of these majors have, so we’re not looking after like The Beatles’ catalog and Led Zeppelin’s catalog. I think that gives us the capability to talk to [our roster] every day. We’ve been to their baby showers, we’ve been to their weddings. They call us when they’re going through breakups. They’re literally like our extended family.
It was so bizarre, but at the start of quarantine, Dua Lipa’s “Don’t Start Now” went Number One. It was pretty exciting because one of my baby writers, Emily Warren — who was one of my first signings when I started at Prescription — had written it. It ended up being Number One at Top 40 radio for almost six weeks. It was crazy to have that happen when it felt like the world was falling apart.