Okay. This is good. They’re complimenting me. This is going well.
“Your demographic is perfect too,” Sadie continues. “Young women primarily, but you’re crossing over into the broader market. And your look is great. Authentic, relatable, not overly produced. That authenticity is really valuable.”
There’s something in the way she says it that makes me slightly uncomfortable, like I’m a product being assessed rather than an artist, rather than a person, but I push the feeling aside.
“We’d love to hear more about your creative process,” David says. “How you approach songwriting, what influences you draw from.”
I talk for a while about how I write, about processing emotions through music, about the artists who’ve influenced me. They’re all nodding along, asking good questions, seeming interested.
“That’s wonderful,” David says once I finish. “Really. Your core talent is undeniable. We’re definitely interested in moving forward.”
My heart jumps. “Really?”
“Absolutely,” David says, and then he exchanges a look with Sadie that I can’t quite read. “Your talent is there, but we have a few thoughts about direction. Ways we could maximize your potential and really break you into the mainstream market.”
And there it is. Thebut.
“Okay,” I say slowly, trying to keep my voice open and receptive even though my stomach is already starting to sink. “I’m definitely open to feedback.”
“So your current sound is great,” Sadie says, leaning forward slightly with her hands clasped on the table. “Very authentic, very you. But we think there’s room to make itbigger. More commercially viable.”
“What does that mean exactly?” I ask, my fingers tightening slightly on my coffee cup.
“Production value, mainly,” Maya jumps in, her tone matter-of-fact and businesslike. “We need to beef it up significantly. Bigger production, layered vocals, polish the sound, bring in some top producers and DJs for remixes. Create tracks that can cross over to pop radio and dance floors.”
I’m nodding along, trying to process what they’re saying. Bigger production. Commercial appeal. These aregoodthings, right? These are the things that actually make careers happen, that turn artists into household names.
“And your lyrics are beautiful,” Maya continues, and something in her tone makes me brace for impact. “Really poetic, layered with meaning. But sometimes they’re a little too complex for mainstream audiences. We might want to simplify some of that imagery, make it more immediate and accessible. More people can connect with simple, direct emotions than intricate metaphors.”
“Simplify my lyrics,” I repeat, and the words feel strange in my mouth.
“You know, nothing big, just make them more universally accessible,” Sadie says quickly, like she can sense my hesitation creeping in. “You’re so talented at creating these intricate lyrical landscapes. But sometimes that complexity can alienate casuallisteners who just want something simple they can sing along to in the car without having to think too hard about what it means.”
“We’re not trying to change who you are as an artist,” David says, his voice warm and reassuring like he’s telling me something for my own good. “We’re just trying to help you reach your full commercial potential. This is how the industry works. You take the raw talent and you shape it, polish it, package it for mass consumption. That’s what we do here. That’s what we’re good at.”
I nod, taking a sip of my coffee. It tastes bitter on my tongue. Or maybe that’s just how this conversation tastes now.
They keep talking. Words washing over me in waves that I’m struggling to process. Producers they want to bring in who have worked with major pop stars whose names I recognize from radio. Songwriters they could pair me with to “strengthen the commercial hooks” and “modernize the sound.” Marketing strategies for a more mainstream image. Photo shoots and styling sessions and social media campaigns designed to maximize engagement.
And I’m nodding along, saying things like “that makes sense” and “I’m open to collaboration,” because this is the opportunity, right? This is what I’ve been working toward for years. You don’t say no to a major label, especially not when they’re talking about investing real money in you, believing in your potential enough to fly you out here.
But it feels wrong. Off. Like they’re describing someone else’s music, not mine.
“We also think bringing in some co-writers would be beneficial,” Sadie says, pulling up something on her tablet. “Plus we’d want to work with a stylist. Develop your visual brand. It’s not just about the music anymore, it’s about the whole package. The aesthetic, the story, the lifestyle.”
The whole package.Like I’m a product on a shelf, not a person who writes songs because they mean something to me.
“One other thing worth mentioning,” David continues, “is that we have partnerships with several major sports organizations. We handle a lot of the entertainment booking for events—NBA playoffs, NHL championships, major tennis tournaments, college football bowls. We’re always looking for emerging artists to feature at these high-profile events. Huge exposure opportunities.”
“One of our bigger partnerships is with Formula One,” Sadie adds casually. “We supply the entertainment contracts for all the US races. Each event features a showcase of new artists we’re developing—it’s incredible exposure. The Las Vegas race in November, for example, has a massive pre-race concert. Hundreds of thousands of people, huge media coverage. That’s the kind of platform we can offer our artists. Offeryou.”
She says it matter-of-factly, like it’s just one of many opportunities they’re listing, not specifically about Jack. Just part of their roster of partnerships.
“So those are our initial thoughts,” David says, sitting back. “Obviously there’s a lot more to discuss if we move forward. Contract terms, recording schedules, marketing budgets. But we wanted to give you a sense of our vision for how we’d develop your career.”
“Thank you,” I manage, my voice sounding strange to my own ears, like it’s coming from somewhere far away. “I really appreciate the opportunity and your time. This is a lot to process.”
“Of course it is,” Sadie says warmly. “Take your time. We’ll send over some materials for you to review—examples of the producers we’d want to work with, some reference tracks for the sound we’re envisioning. No pressure to decide anything today.”
