IN CONVERSATION WITH CARTER GREGORY

interview by JANA LETONJA

Vice President of A&R at Capitol Music Group and content creator Carter Gregory is at the epicenter of pop culture. As Vice President of A&R at Capitol Music Group, he has signed artists such as FLETCHER, Doechii, Natalie Jane, Amelia Moore, Duncan Laurence, and more. Recently, Carter sat down with Obama and Oprah to discuss music, uplifting diverse voices, representation in leadership, and the importance of voting. 

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As Vice President of A&R at Capitol Music Group, you’ve worked with incredible artists like FLETCHER, Doechii, and Natalie Jane. What do you look for when discovering and signing new talent?

I love this question. I truly believe in working with artists that want to help shape culture in a positive way. Every artist I work with stands for something and has a vision, and my job is to help them bring it to life.

I look for artists that have a clear perspective, a strong sense of identity and that want to share their story to help inspire anyone who listens.

A&R is a mix of instinct, strategy, and timing. How do you balance those elements when developing an artist’s career?

Always trust your gut. It typically does not lead you in the wrong direction. When dealing with music, I first like to think about how it makes me feel. Am I hit with an overwhelming sense of emotion whether it be sadness, happiness, laughter, etc. The strategy and timing of it all comes after. Music has always been a healing tool for me, so I approach it with that mindset.

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Can you share a moment in your career where you knew you had discovered something truly special?

When I was 5 years old and heard ‘Say My Name’, Destiny’s Child for the first time. In that moment I knew that I had discovered something so special, Beyonce.

But on a serious note, I think signing my first artist and dear friend FLETCHER was a pinch me moment. She was the first artist I got to work with as a new A&R, and last year she played a sold out Greek Theater and Radio City Music Hall. Watching all of her fans scream lyrics to songs we have worked so hard on for years was very special.

How has the rise of social media platforms like TikTok changed the way artists break into the industry? Do you think virality is becoming more important than traditional artist development?

I think more than ever, artists have the power to be their own marketeers. They can dictate exactly how they want to promote themselves, their music and overall artist identity via social media. That autonomy is so powerful. However, even with the biggest viral moments I still believe in artist development. You can have a song become a massive hit due to a TikTok trend, but consumers may still not know who the artist is or any of their catalogue. That is where the development comes in and will always remain crucial for artists.

What are some of the biggest challenges facing A&R executives today, and how do you navigate them?

The job of an A&R is ever-changing, as we discussed with the rise of different social media platforms. But at the core, I believe the biggest challenge is staying true to artist development in a tech-driven musical landscape. Balancing commercial success or viral moments with true artist development is a key in this digital world.

You recently sat down with Obama and Oprah, two cultural icons, to discuss music, diversity, and leadership. What was that experience like, and what were your biggest takeaways?

The most insane experiences of my life. Talk about cultural curators. These are two people who have shaped culture, especially black culture, in such a major way. My experience with both of them was the most uplifting and inspiring. I left feeling extremely motivated. My biggest takeaways, Oprah has great style and Obama’s musical taste is A+.

The music industry has made strides in diversity, but there’s still a long way to go. How do you advocate for underrepresented voices in the industry, both in front of and behind the scenes?

This is extremely important to me. Growing up gay and black in the south, in North Carolina, was not the easiest. I did not have mentors and people who looked like me to really relate to as a kid. So being in the position I’m in now, it is of the utmost importance that I can be that for the next generation. I want to open the door and keep it open for the next young Carter who is finding his, her or their place in the world and needs someone to look up to.

From Capitol Music Group to your influence on pop culture, you have a front-row seat to cultural shifts. What trends do you see shaping the future of music and entertainment?

I think because of the access we all have due to social media, relatability is more important than ever. We have a peek into everyone’s lives now with the click of a button. I know when you had your coffee, where you had it and what type of milk you used. It's wild. I think everyone wants to feel like their favorite artist is talking directly to them.

What do you think is missing in today’s music industry, and how do you see it evolving in the coming years?

Honestly, I do think fairer compensation for songwriters is lacking today. We are making changes as a whole, but there is still a lot of work to be done to uplift songwriters in the way they deserve.

How do I see the industry evolving? AI is becoming more prevalent in the creative process daily. I’m very excited to see how it will begin to play a bigger role in production, creation and curation.

What’s next for you? Any exciting projects or signings we should be looking out for?

‘Carter’s cocktails’. It’s a fun show I started where I interview my friends or artists while making an interesting cocktail. Really loving it as another creative outlet right now.

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TEAM CREDITS:

talent CARTER GREGORY 
photography PERAZNA 
styling HANNAH KERRI VISELLI 
styling assistance ARIANNA THODÉ
hair DILLION PEÑA for THE ONLY AGENCY using LELAND FRANCIS and BALMAIN HAIR
editor TIMI LETONJA
editorial direction and interview JANA LETONJA