WORK IN A&R, GET PAID (A LOT!) TO LISTEN TO MUSIC?

Here’s what the President of A&R at a record label has to say.

For many, myself included, a successful career in the music business is a fantasy akin to that of being a princess or astronaut. As we grow up, we are taught to ditch these unrealistic ambitions in favor of practical pursuits. But what if it wasn’t just a pipe dream? 

Meet Ryan O’Donnell, President of A&R at Crooked Paintings Records and Cre8ive Co. Music Publishing. For him, discovering new artists, influencing their careers, and helping to shape the sound of today’s music is just another day at the office. We catch up for a pandemic-safe phone chat and he is more than happy to answer my burning questions. 

First and foremost, I am itching to know:

How do you get you get started in the music business?

“My first job in the industry was in artist relations and tour marketing at Maverick Records,” O’Donnell tells me, “I  wanted to get into the music business and was willing to accept any job. I didn’t know anyone, you know, I had no network.” I think we can all relate to that sentiment.

At Maverick, O’Donnell’s responsibilities were diverse and required interaction with all sorts of industry players (and big shots).

“I would talk to the people who were interested in working with our touring artists, take requests to the managers, and help to map out their schedule. I would also do things like acquire and distribute tickets to the label and the press, and at the LA shows, I got to help top executives find their seats.”

Naturally, to the businessman extraordinaire, they were opportunities he could take advantage of. He was at the center of everything, and all the while, he was constantly scouting, building relationships, and thinking towards the future.”

After Maverick Records, he moved on to bigger and better things. His next stop? Interscope Records– one of the most significant record companies in the business.

Still in tour marketing, O’Donnell was determined to work in A&R, a career that would give more responsibility, influence, and creative freedom. To do so, he had to prove himself as a valuable asset to the company. This brings me to my next question:

How do you stand out in the music business?

“I wasn’t even officially doing A&R yet, but I just kept putting in the work, showing them what I could do.” 

Driving home the importance of networking and leaving good impressions, he shares, “I  was at South by Southwest and I met up with an old boss from Maverick, who now worked at Downtown Records. He had already connected me to the guy running publishing, and he wanted me to meet the CEO. Long story short, I ended up bringing in Downtown Records for a joint venture.” 

Wow. I’m still reeling from this mic-drop of an accomplishment when he adds helpfully, “Oh, and I also brought in Colbie Caillat.” Sounds about right. 

And it gets better– O’Donnell’s efforts caught the attention of music legend and Interscope Co-founder, Jimmy Iovine, who hired him as his A&R Assistant. By the time he left Interscope, he had made a name for himself.

Where has your career in A&R taken you before your current position?

Climbing up the ladder, O’Donnell continued to work in A&R, taking his talents to various companies and roles. He gained valuable experience managing producers and writers at New Heights Entertainment and serving as VP of Creative/A&R for a Downtown Music Publishing/Rock Mafia joint venture. In 2016, he was appointed VP Creative of Deep Well Records/Capitol Music Group and Deep Well Publishing by its founder, Adam Anders. Arguably the most in-demand Executive Producer for music-driven film and TV (throwback to Glee), Anders commented to the press, “We are very excited to welcome Ryan to the Deep Well family and look forward to creating some exciting new success stories with him in the mix.”

What is the secret to your success?

Looking back on these success stories, O’Donnell cannot stress enough that “step one through nine is the networking.”

He emphasizes the importance of developing relationships that are “more meaningful than just talking on the phone– you should become real friends. Then down the line, they will be happy to do business with you because you have that foundation of trust.”

He continues to prioritize human connection today as the President of A&R at Crooked Paintings. Ashley Maietta, A&R/Publishing Manager at the label, shares, “Ryan is a gifted people-person– it’s one of the things that make him so crucial to the team. You really have to be outgoing and confident in this business, especially if you work in A&R, and that comes very naturally to him.”

What do you actually do as President of A&R?

At Crooked Paintings, O’Donnell works with and books sessions for writers, producers, and artists at other labels, and collaborates with writers on songs to pitch to labels. He also makes time to independently write and produce songs.

“Oh, and I also manage an artist,” he tacks on. 

Being a “sleuth” is a big part of the job.

“I spend a lot of time searching for new songs and scouting new talent to sign or collaborate with other artists. Right now, I’m looking for new feature artists open to working with MKTO” – a pop duo signed to the label, whom you might recognize from their 2013 runaway hit “Classic.”

On the scouting process, O’Donnell states simply: “The first thing I look for is greatness.”

“I have writers emailing me stuff all the time. There’s so much good stuff out there, but not a lot of truly great stuff,” he says candidly. “As you listen to them, you have to be discerning. You can’t compare them to the other unsigned stuff you’re scouting. When you work in A&R, you have to listen to every song with fresh ears, thoroughly consider each artist, and ask yourself if they hold up next to already established artists.”

But O’Donnell asserts that another factor is just as important as talent: work ethic.

“You can have talent, but if you’re not showing up to put in the work, staying communicative and readily available, and giving it 110% at all times, no one will be interested in working with you.”

O’Donnell confirms that marketability is definitely a consideration when scouting new talent, but he is adamant that “looks don’t matter.” I am skeptical to believe this, but he assures me that “people would prefer to listen to a freak as long as they’re a true artist and not just some manufactured crap.”

At the end of the day, we are all human.

Despite his personal success, O’Donnell is under no illusions about the nature of the industry, warning me that “it’s going to be full of challenges– it has to be your passion. You can’t be in it for the money.” As we wrap up our call, I ask O’Donnell if he has any advice for this new generation of dreamers taking their first steps into the business, prepared to risk it all for the love of music. 

 “You can’t let yourself be intimated,” he tells me. “There really is such a hierarchy to the business, and yeah, it’s amazing to see what people have accomplished. But at the end of the day, everyone is just a human being. You’ve got to treat everyone the exact same way, no matter how big or small.” 

He’s not wrong. At times, it really can be hard to remember the fact that, regardless of position or impressive accomplishments, we’re all just people. No one is better than us, just as we are not better than anyone else. 

With that, O’Donnell makes his exit, explaining that he has to take his daughter to her piano lesson. Our conversation gave me a lot to think about, but this final offhand comment stands out as relatable; it reminds me that on a basic level, we really are all the same. If we can focus on these little moments, we can avoid becoming intimidated and build stronger connections. An important realization, as O’Donnell’s story taught me that relationships – authentic and human – are the key to success.