Sat Bisla

Whether it's heard on vinyl, compact disc, digital download, streamed or on YouTube, the key to the success in the music business is -- and will always be - the continuous infusion of new talent. Sat Bisla has been doing finding and developing new talent for 25 years now, the lion's share at the helm of A&R Worldwide. His company has been early on then-unknown talents such as Dido, Fatboy Slim, Muse, Coldplay, Sixpence None The Richer, Rammstein and Bonnie McKee. Here, Bisla talks about the current A&R environment and how he can find and break talent in a digital world.

What was your mission statement when you started as A&R Network 20 years ago, and has that mission statement changed over the years?

The original concept of A&R Network, which I launched in 2001, was created on the heels of an independent online music discovery platform called GloballyChallenged, which I set up back in 1998 out of my bedroom. I sold GloballyChallenged to Clear Channel Radio in late 2000 and rebranded it as A&R Network in 2001, where I oversaw the worldwide A&R Network for Clear Channel Radio and Clear Channel Entertainment. My vision was to create something unique for the economically and geographically challenged senior music industry executives, A&R departments, music publishers, managers, booking agents, concert promoters, music supervisors, music tastemakers, songwriters, producers, artists, music technology platforms and other respective industries.

I wanted to discover the incredible artists from around the world who had been vetted and filtered with my years of being a radio and club DJ, hosting a global import new music radio show, as an international music journalist, booking agent and A&R scout, as well as working as International Radio & Music Editor at VIRTUALLYALTERNATIVE Magazine (part of the Album Network, Network 40 and the Network Magazine Group), which published the major and independent trendsetter charts. I was getting the inside track on what was being signed, developed and breaking from clubs, radio, synchronization forums and beyond from various continents.

I always had a passion for the development of artists, but initially A&R Network was mainly focused on music tips, consulting on global music intelligence, sharing new music industry creative and business innovation. Using my experience from traveling the world, I utilized my global relationships to bridge the music industry divide.

In 2002, I helped create the blueprint for the consumer online multi-media platform for Clear Channel Radio called The New Music Network, which eventually evolved into iHeartMedia. In 2003, I left Clear Channel and partnered with then-Live Nation COO Steve Smith to set up A&R Worldwide independently. However, during my time running A&R Network (and a few years prior), I helped many artists either get developed and signed to worldwide deals, as well as assisted them and their management in securing key U.S. and/or international activity that led to them getting signed. Some of these artists included Keane, Dido, Faithless, Fatboy Slim, Muse, Missy Higgins, Coldplay, Sixpence None The Richer, Rammstein, H-Blockx, Bonnie McKee (songwriter for Katy Perry, Brittany Spears and many others), Jem, Rob Dougan (known as Clubbed To Death with the Matrix movie theme) and numerous others.

Today the development side is a crucial element to what A&R Worldwide does as the artist and the song are still core to our nucleus. However, the artists' needs have changed and the industry's parameters and metrics have evolved. Therefore over the years, we have positioned ourselves so that nobody else could do what we did via our approach to global artist development, from traditional radio, streaming services, media, synchronization (TV/film, video games and commercials) imaging and brand building, social media, A&Ring songs, co-writing sessions, producing, recording, mixing, re-mixes, mastering, live performance workshops to showcasing artists on a global scale, interweaving my 35 years of international knowledge and relationships each step of the way.

How has your relationship with the major labels evolved over the years?

In the past (mid-'80s to early '90s), I was setting up my initial international meetings by sending a fax or a letter to confirm my appointment, which was mostly playing new music and listening to their potential releases, giving my honest thoughts and feedback. Now after many years of bringing them talent - many of whom have become global successes - I can offer international music-related intelligence on all fronts, breaking artists together, always following up with e-mails, and hours of brainstorming via meetings and phone conversations. I continue to meet these important senior executives, as well as interact with their key staff with face-to-face engagement in their respective territories. In addition, the scope and breadth of attending networking events, conferences, hosting our own VIP dinners evolved into our own conference, MUSEXPO. My relationships with the labels are much deeper and the bonds firmer because of the symbiotic nature and being involved with a lot of success from the embryonic stage.

The qualities behind a great artist--- have they changed at all?

In the past, it was very heavily reliant on the song and image married with a great live performance. Now the music, production, image, branding, live performance and likability of the artist needs to be exceptional. What's more, one has to have the data and metrics to prove its market value through authentic and continued measureable activity. I always trust my gut, eyes and ears; however solid data and an artist who can truly communicate to the masses outside of their music will definitely garner attention in a broader manner these days.

How have the music trends impacted the A&R/artist development process?

Music has always had trends and in our position, we need to be ahead of that curve, so it's slightly different than being a part of the trend. Technology has allowed global trends to be identified and validated more robustly. Yet trends can also be song-specific, as opposed to artist-focused. I'm always looking for movements that are broader, more sustainable and that build long-term careers outside of just a data-driven song or trend. In essence, we are always trying to spot something special outside of the box that is potentially going to happen, or that we feel is the right time for it to make a reemergence, spurring a new movement.

It's long been said that the labels usually sign artists and bands that sound like proven hit acts. Does that mentality impact the way you evaluate talent?

Of course, we all compare and think, "They remind me of this" or "It should sound like that," but every artist and project is different. Honestly, it depends on where you feel the artists can go and where they are looking to be in five years -- but in one-year increments! In essence, taking things step by step with a long-term plan.

Not every act or song is a hit, but as long as it's touching the emotional receptors of the audience, in that it genuinely moves a person in some way, then we should let the audience be the judge and jury. The fan is in more control of a song's fate -- especially nowadays!

How far beyond the current hit sound, or on the cutting edge, are you willing to work?

We have worked with a lot of diverse artists and songs over the years (Coldplay, LMFAO, KONGOS, Adele, Sheppard, Lorde, Tove Lo, etc.) -- all of whom were NOT what was happening or trending; they broke the mold. For me, it's gleaming that edge that is exciting. As long as it is commercially viable and touches on all those emotional aspects I stated above, I'm more than willing to give it a shot if it gets my blood flowing and creates a powerful emotional connection. That's the excitement of breaking an artist -- something where you're not sure what the initial commercial reaction will be ... but you get that internal gut butterfly feeling.

And what's the most effective way of "selling them" to major labels?

A&R Worldwide's specialty is our unparalleled track record in consistency building reaction/buzz, as well as proof of the audience engagement in markets that make sense for breaking the artist's style of music. We work in an even more international business and audience now, so you need to act local but think global.

Are you working more with indie labels ... and is your relationship with them any different than it is with a major?

Often when we discover an artist, or if the artist approaches us, they are either unsigned or on an indie label. They're artists on the initial emerging level that need our support to take them to where they can get the attention of the majors. or break out of their respective territories on a global scale.

Working with artists at this level is not much different than a major because indies do have quality teams and people who are vested in their success. They just may not have the relationships and financial support that some of the newly signed major label artists do. However, I find that any artist who is just coming out still needs to create that rock-solid foundation with quality music and building an audience, which is never easy to do. One of the hardest parts for most majors is to have the patience needed to start that initial spark and early success with all of their priority artists. It's very difficult for them to develop and break an act from the top down; hence both majors and indies need to spend most of the time developing an act from the bottom up.

Management companies like Q Prime as assuming more label duties, such as promotion, artist development, sync rights, etc. Are you considering working with them as well?

Managers are always our first line of defense for being in the trenches with the artist, except now they have built a lot of quality relationships that they rely on for their baby bands, as well as maintain the status quo for their headlining acts.

This development trend has been going on for a while in areas that they didn't traditionally do; publishers, promoters and booking agencies are all seeing the benefits of taking the time to utilize their strengths, contacts and abilities to develop these artists so that they can break through the noise and sustain more fruitful and longer careers.

Have you ever considering incorporating label services into A&R Worldwide?

The nature of A&R Worldwide is to remain as Switzerland because we are always looking out for the best interest of the artist trying to garner the attention of the labels and publishers, etc., as well as break artists for managers, labels and publishers in other territories.

The artists and the industry have evolved so much that we have been approached to become involved in asset ownership when available and appropriate, and develop the technology or content on a co-management basis so that we could have a stake in the long-term success of the projects. By diversifying what we do, we can benefit in the success that we create and not be solely reliant on new client services. And surely, if we'd taken an interest in some of the many of the artists we've helped discover and get signed that have become multi-Platinum success stories, we'd have an incredibly buoyant and successful business in financial terms. However, that could have also taken away the trust, integrity and neutrality of what makes A&R Worldwide so special and effective, as a global ambassador and trusted resource to so many around the world.

How prevalent are global crossover artists and hits? Is this a goal for some of your artists, and how do you go about accomplishing that?

We have always seen the trend of a crossover artist going from the early adopters and tastemakers more on the Alternative side and crossing over into the mainstream pop world. That's the type of music we personally love and are excited about working with first and foremost.

So we try to start with new music enthusiasts and early influencer platforms. Unfortunately there really is no way to predict how exactly a song will react, and if it will grow to be a crossover success. You just need to plant the seeds, nurture them and help them grow to their fullest potential.

How has the new streaming economy impacted what you do?

It has impacted what the entire industry does, how they quantify success, the scope of the audience, where the reaction is to be able to market live shows, how to capitalize on these areas of greatest potential and where they need to address their further growth.

We have always prided ourselves being at the forefront of new technologies and we have relationships at the highest levels of many the DSPs worldwide. We have always diversified what we do, so we don't just look at the playlist as the only target, but all areas of potential relationships with the audio and visual streaming platforms to break the artist.

How do you see the future of the music business, especially in terms of A&R and artist development, as it evolves in the future?

To look to the future, you must always learn from the past. What we see now is how the record business initially started and that is on singles-based releases. It's more important than ever to generate consistent and exceptional content and exposure in the marketplace to remain relevant. Collaborations with cross-genre artists, producers and songwriters to elevate your creativity and audience, as well as getting the artist in front of the fans as soon as possible and keeping them engaged via all relevant touch-points.

The audience is consuming music at an incredible rate, utilizing the streaming, social and video services like a limitless jukebox, one that is constantly evolving and has an insatiable appetite for new music that keeps their interest and attention. You need to be on the pulse of the street while at the forefront of social interaction and music conversion platforms, to connect these thoughts, imagery and music in a meaningful way that is organic, genuine and touches the hearts, minds and inspires your scene to be a part of your creative ecosystem and experience.

In the very near future, there will be no products such as compact discs or downloads. So it's imperative for us and the artists to create a meaningful exchange that could be monetized and still keep the fans satisfied, because too often the music industry has been behind the eight ball on innovation, enabling the technology companies to overtake the way that we distribute, consume and exchange music as the most powerful connection between artist and fan. That bond is so powerful and sacred that we, as the custodians of the music, must maintain that next connectivity point.