Equalizers: Alissia On Her ‘Producer Of The Year’ Nomination

Summary

All Of It Podcast Summary Episode: Equalizers: Alicia On Her ‘Producer Of The Year’ Nomination
Host: Alison Stewart
Release Date: March 3, 2025
Host/Author: WNYC
Description: ALL OF IT is a show about culture and its consumers, aiming to engage thinkers, doers, makers, and creators in conversations about the what and why of their work. This episode focuses on women in music production as part of Women's History Month.

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Introduction to the Episode

Alison Stewart opens the show by welcoming listeners and outlining the episode’s focus on "Equalizers: Women in Music Production," a series dedicated to celebrating female producers in the music industry during Women's History Month. She highlights the scarcity of women in production roles, citing a USC Annenberg study that revealed women accounted for less than 5% of production credits on the Billboard Hot 100 in 2022.

"According to a USC Annenberg study, in 2022, women accounted for less than 5% of production credits on the Billboard Hot 100." [00:51]

Introducing Alicia

Alison introduces the guest, Alicia, a trailblazing female music producer who received a nomination for the Grammy Award for Producer of the Year in 2025. Alicia's notable work includes producing tracks for artists like Ray Khalil, Jamila Woods, and BJ the Chicago Kid.

"Alicia is one of the very few women working in music productions today, joining us for Equalizers, Women in Music Production." [02:55]

Alicia's Background and Musical Journey

Alicia shares her musical roots, starting at the prestigious Berklee School of Music where she played the bass. She discusses her transition from performing to production, driven by her love for music and desire to create and produce songs.

"I think I was always a music lover. I always really was craving and wanting to be able to play everything I was hearing on bass." [03:14]

She reflects on her deep connection to funk music, citing influences like Bootsy Collins and Larry Graham, which have significantly shaped her production style.

"I was a huge, like, funk 70s music fanatic. That's what really made me want to start playing bass." [05:16]

Grammy Nomination and Noteworthy Projects

Alicia discusses her groundbreaking Grammy nomination for Producer of the Year, the first woman nominated in the non-classical category since its inception. She highlights her work on Mary J. Blige's "Love Without the Heartbreak," praising the collaborative experience and her role in elevating Blige's vocal presence in the mix.

"We had two nominations, actually, including album of the year, which is one of the most important categories. So we were all very happy." [06:07]

Alicia elaborates on specific production choices, such as keeping Mary J. Blige’s vocals front and center to enhance the song's emotional impact.

"Keeping her vocals so in front and then the backgrounds more in the back is definitely something that elevates this song." [08:22]

In-Depth Look at Production Techniques

The conversation delves into Alicia's production process, emphasizing her preference for live instruments and analog sounds. She discusses her work on Ray Khalil's "Is It Worth It," where she played and arranged strings to capture the song’s powerful essence.

"Most of the instruments, pretty much all of them are played live. We really wanted to keep that magic and capture all of it." [10:14]

Alicia also highlights her versatility across genres, from funk-inspired tracks to dance-oriented productions, illustrating her ability to adapt and innovate.

"This year was a lot of different types of songs. I love that one too." [14:19]

Challenges as a Woman in Music Production

Alicia openly discusses the challenges she faces as a woman in a male-dominated industry. She speaks about the need to work harder to gain respect and the importance of having thick skin to navigate through predominantly male environments.

"Sometimes I had that feeling that I had to prove that I have that respect. So that's why I worked really, really hard." [19:25]

She emphasizes the ongoing struggle for gender equality in music production and the necessity for women to believe in themselves and trust their instincts.

"It's a very tough industry. You have to really be grounded and really believe in yourself first." [19:25]

Alicia's Insights and Advice

Alicia offers valuable insights into the role of a music producer, describing it as bringing an artist’s vision to life through collaboration and musical arrangement. She shares her personal practices for maintaining a creative and positive work environment, such as using Palo Santo for purifying the studio space and setting mental intentions before sessions.

"The producer's job is to take the idea of a song or come up with an idea together with the artist and make it come to life." [17:22]

She advises aspiring producers to create a safe and comfortable space for vulnerability and creativity, essential for producing meaningful music.

"Always be in a good mental space... Music is very artsy, so always be in a good mental space." [19:04]

Personal Reflections and Favorites

When asked about her favorite albums and songs she wishes she had produced, Alicia expresses admiration for Michael Jackson’s "Thriller" and "Off the Wall," and mentions Stevie Wonder’s "How I'm Feeling." These choices reflect her deep-rooted influences and aspirations within the music industry.

"I think my favorite album is Thriller and Off the Wall by Michael Jackson." [21:47]

Conclusion and Future Episodes

Alison Stewart wraps up the episode by thanking Alicia for her participation and teasing future installments of the "Equalizers" series, including upcoming interviews with Wendy and Lisa of the Revolution, the first women nominated in their Grammy categories.

"In our next installment of this series, we're gonna have Wendy and Lisa on of the Revolution." [21:15]

Alicia encourages listeners to continue supporting and shining their light through music, emphasizing the importance of female voices in the industry.

"Keep shining their light in this world, you know, with their beautiful spirit." [21:21]

Closing Remarks

The episode concludes with a brief mention of future guests and a heartfelt thank you to Alicia, solidifying the show's commitment to highlighting diverse voices in culture and music.

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Notable Quotes with Timestamps:

• "Alicia is one of the very few women working in music productions today, joining us for Equalizers, Women in Music Production." [02:55]
• "I think I was always a music lover. I always really was craving and wanting to be able to play everything I was hearing on bass." [03:14]
• "Keeping her vocals so in front and then the backgrounds more in the back is definitely something that elevates this song." [08:22]
• "The producer's job is to take the idea of a song or come up with an idea together with the artist and make it come to life." [17:22]
• "It's a very tough industry. You have to really be grounded and really believe in yourself first." [19:25]
• "I think my favorite album is Thriller and Off the Wall by Michael Jackson." [21:47]

This episode of All Of It sheds light on the exceptional contributions of women in music production, exemplified by Alicia's journey and achievements. It underscores the importance of diversity and resilience in shaping the cultural landscape of music.

Transcript

[Progressive Insurance]

All of it is supported by Progressive Insurance. You chose to hit play on this podcast today. Smart choice. Make another smart choice with Auto Quote Explorer to compare rates for multiple car insurance companies all at once. Try [e-mail] Progressive Casualty Insurance Company and affiliates not available in all states or situations. Prices vary based on how you buy. Listener supported WNYC Studios.

[Alison Stewart]

This is all of it. I'm Alison Stewart live from the WNYC studios in soho. Thank you for sharing your day with us. I'm really grateful you are here. Coming up later in the show, a company that curates meals based on books. They're called Table of contents. Chef Evan Hanzuer will be our guest. And tomorrow, author Russell Shorter will be here. His latest book explores the historical context between the Dutch and the English over the island of Manhattan. He'll be here in studio to talk about taking Manhattan. The extraordinary events that created New York and shaped America. That's in the future. Now let's get this hour started with Alicia. It is women's history month and we have something major planned. All month, we'll be talking to women who make the music that you love to hear. The producers and engineers. It's a series we are calling Equalizers. Women in Music Production. According to a USC Annenberg study, in 2022, women accounted for less than 5% of production credits on the Billboard Hot 100. Over the previous decade, men outnumbered women 35. 1. Believe it or not, no woman has ever won the Grammy Award for producer of the year. Outside of the classical music category. Since the award was established in 1975, only a handful of women have ever been nominated. In the 21st century, there have only been three. And one of is my next guest, Alicia, one of 2025's Grammy nominees for producer of the year for her work on songs like Ray Khalil, Jamila woods, and more. Let's listen to a track she produced called Honey by BJ the Chicago kid.

[BJ the Chicago Kid]

Sweet like honey, sweet like honey oh, you taste sweet Sweet like honey Baby, if you want me come and pour it on me Hey, I love the way you stick to me and when we get there, we gonna go back for more.

[Alison Stewart]

Alicia is one of the very few women working in music productions today, joining us for Equalizers, Women in Music Production. Alicia, it's so nice to meet you.

[Alicia]

Thank you for having me. Hi, everyone.

[Progressive Insurance]

Hi.

[Alison Stewart]

So you start at the Berklee School of Music. Very, very prestigious. And you played the bass.

[Unknown Host]

When did music production come into the picture?

[Alicia]

You know, I think I was always A music lover. And I always really was craving and wanting to be able to, you know, play everything I was hearing on bass. Obviously, I played piano, started on piano before, and I was really craving the creating, trying to, you know, create songs. And so it kind of like, came, like, obviously bass was. I was focusing on bass a lot, but it kind of came around the same time naturally. You know, I was, like, writing and producing people in school, but that later on, I really focused on that for. For a bit.

[Unknown Host]

I want people to hear you play the bass. We found this from Berklee.

[Alison Stewart]

This is pretty great.

[Unknown Host]

Let's take a listen. So that's taking you down memory lane a little bit.

[Alicia]

You guys really surprised me back in the archives. Wow. Wow. Memories.

[Unknown Host]

Well, when you think about the fact that you will play music, that you played music, piano, bass, how does that help you in your production?

[Alicia]

I think, you know, being a musician and starting off as a musician is always helpful, you know, to write songs with people and then later on produce it and develop it. I think it's a great tool to have, just being a musician, being able to know which chords to go to for the melodies and things like that. So it really helped me, for sure, in my production. I use a lot of, you know, live instruments and analog and. Yeah, so it's helping me a lot.

[Unknown Host]

It was a lot of funk in that bass.

[Alicia]

Yeah. Thank you.

[Alison Stewart]

Thank you.

[Unknown Host]

Is there. Is there a. Do you consider yourself having sort of a. A basis in funk?

[Alicia]

I mean, you know, I was a huge, like, funk 70s music fanatic when I. That's what really made me want to, you know, start playing bass like Bootsy Collins, Larry Graham Brothers Johnson, you of that, like so many. So many of that era. But, yeah, that's really what I wanted to be able to play, you know, what I was hearing on bass. And so definitely, yeah.

[Unknown Host]

I'm speaking with Alicia, who is nominated for producer of the year non classical at the 2025 Grammy. She's here to kick off our March series Equalizers, Women in music production. Your first Grammy nomination came from your work on Mary J. Blige's song Love without the Heartbreak. What did you see as your. In helping out Mary J. This is 2000, 2022.

[Alicia]

Yeah. First of all, that, you know, that nomination was incredible. We had two nominations, actually, including album of the year, which is one of the most important categories. So we were all very happy. And yeah, I mean, working with her was really incredible. You know, she's. She knew what she wanted as far as, you know, what she wanted to say and talk about. And I think musically, you know, we talked about different things and just inspirations she had music wise and yeah, I was working on that also. Anderson Paak. Shout out to the incredible Anderson Paak who brought me in for that session. And yeah, we had just a great time. You know, we really just were vibing and trying to make the best we could make and just have fun with it.

[Unknown Host]

Let's listen to a little bit. This is love without the heartbreak.

[Mary J. Blige]

I'm.

[BJ the Chicago Kid]

So tired don't wanna feel it no.

[Mary J. Blige]

No, no Talk about if I can pick the best parts of love I would start it like this. I would start at the time we took our first trip. I would start at the time we had our first kiss. I can pick the best parts of love I can do without Take out all the. How I take out the part about your ex. I don't know how long I can wait oh, I don't know how much I can take O When will love K be upright? Oh, I feel like I'm going to.

[BJ the Chicago Kid]

Say.

[Alison Stewart]

I really hear her voice is very front. What went into that choice? It's clearly out front.

[Alicia]

You know, I think, I mean, that's more on the mixing end, but I think, you know, when she was singing that song, I feel you could feel, you know, I was there actually when. When she was in the booth and. And she was really. She's just the queen, you know, her. Her magic and everything. Like, it's just her whole aura about it. But y think just the decision of keeping her vocals so in front and then the backgrounds more in the back is definitely something that, you know, elevates this song. And we try to still keep, you know, that magic of all the instruments that goes with it. But, yeah, she's incredible.

[Alison Stewart]

You were nominated this year for producer of the year for your work on songs like from Jamila woods, bj, the Chicago Kid. We heard that earlier. Ray Khalil. First of all, what's the criteria for the producer of the year?

[Alicia]

You know, I'm not sure. I think, you know, it's also just like the work, the versatility of the producer and how much, you know, I'm guessing and there's not the exact criteria that is publicly written, but what I assume would be, yeah, to just elevate someone's vision, an artist's vision and, you know, musically and really execute it as best as they can as producers. And, you know, for me, it was really an incredible year. I had the honor of working with a lot of different artists. And so it was. Yeah, I was very humbled. I'm still, you know, very, very grateful for it, for sure.

[Unknown Host]

Let's listen to one of the artists. Is It Worth it by Ray Kahlil. What is a production decision in this song you would like us to listen for in this next clip?

[Alicia]

I think just everything, you know, I think that, you know, this song is very powerful. I love, you know, she's an incredible writer and artist. I really had fun with it. I got to record and arrange strings. I love doing that in my production. You know, most of the instruments, pretty much all of them are, you know, played live. And so we really wanted to. I really wanted to keep that magic and capture, you know, all of it. So, yeah, listen to everything.

[Unknown Host]

This is Ray Khalil. Is it worth it?

[BJ the Chicago Kid]

O is it worth it? Tell me is it worth it? If I show up when I'm old and I see the same face Is it worth my time? My compass does just fine on its own so much pride is built A second home I I can't hide behind me no more I went so low and flew high no one said it would be easy or crowded how do you stay grounded alone?

[Unknown Host]

Alicia, how did the songs come to you? Did they come to you in the most basic state?

[Alicia]

This one, actually, you know, it's so, you know, with Rhea, it was something where actually Anderson again, you know, reached out, and he had just signed her, and she had just signed to Def Jam, and he was trying to really develop, like, a new sound for her. So, you know, and I knew Ray from before, and I really loved her music. And I think, you know, he just had this vision of wanting to do a song for her that. Where she can really shine as a singer, because a lot of people know her as a rapper. And. Yeah, so I think, you know, she. It just came. I don't know exactly how, you know, sometimes the magic just strikes. But this was. She came for, like, a week, and we did a bunch of songs. And especially with, like, up and coming artists, I love to really try to spend time to really figure, you know, figure what works for them, like, try things out. And really that's the only way to find out, to just try and just make music and we'll understand what type of song, you know, works for them. And, you know, this one was maybe, like the third or fourth day we got in, and it was like later in the day, we had just finished working on another song, and we were, like, it was late, and, you know, I started playing, like, on actually on my Moog Voyager, the baseline and the chords on the roads. And I had these chords I was thinking about. I was like, that would be really cool, you know, if it started like this and then goes into that. And, you know, she really enjoyed it. And she started, like writing down lyrics and just ideas and that's how it came about.

[Unknown Host]

And she became sort of. Sort of enmeshed with the song. As you gave her more information, she was able to bring herself to it.

[Alicia]

Yes. Musically I was giving her information and she was just going, you know, writing and thinking melodies, singing with the chords I was playing. So it was very natural and very fast. Yeah.

[Unknown Host]

I was speaking with Alicia, who was nominated for producer of the Year Non classical at the 2025 Grammy. She's part of our series Equalizers in music production. Let's listen to another track. Love Takeover by Lion Babe. What do you like about this track?

[Alicia]

You know, I love that this one and the same with the one you played. Bj, the Chicago kid. It features actually Chloe, which is the amazing artist, and the one with Coco Jones as well. So I did a lot of, you know, this year was a lot of different types of songs. And the one with Lion Babes, they're so amazing. Shout out to Lion Babe. It really makes me want to, like, you know, it brings me into this, you know, I DJ too, so it makes me like, want to, like, spin that. And I brings me into that whole, like, DJ world. The same as the one I did with K Tronada too. Like the. The more dancy tracks. I'm like, yeah, I can. I can DJ that. We can have fun with it. So. Yeah, love that one too.

[Alison Stewart]

Let's listen when we take a minute.

[BJ the Chicago Kid]

To let it breathe and I'm not getting started now soon you'll see Every time in this new world together it's just a head so come on closer and feel the heat look into my eyes for eternity now we're holding on to each other it's okay this will be day.

[Alison Stewart]

Alicia, we have a question.

[Unknown Host]

From a listener that says, what does.

[Alison Stewart]

A producer actually do?

[Alicia]

Oh, okay. So the producer really just, you know, the producer's job is to basically take an idea of a song or come up with an idea, a song together with the artist and make it come to life, really. So by, you know, figuring out which chords work or, you know, really developing the song with the artist. And then, you know, most of depend every producer works differently. So I'm very in tune with the writing. I usually play all the Instruments and record engineer it myself. Some producers call musicians and they say, yes, we should use this. Musicians, and they make the decisions on what instruments to use, what type of, like, you know, sometimes they even just like, tell the artist, like, oh, we should try this, we should try that. You know, it's really. It's really different. It really depends on, you know, the producer. But, yeah, I always think of producers.

[Unknown Host]

As it is your job to bring out the best in the artist, Whatever that takes.

[Alicia]

That too. For sure. For sure. Musically, obviously, you know, like, it's always, you know, depend. Like the song revolves around the song. Yeah.

[Unknown Host]

I read somewhere that you burn Palo Santo in the studio. It's sort of like, you know, a.

[Alison Stewart]

Purifying wood can relieve anxiety when you're producing. What are other ways that you make.

[Unknown Host]

The space good for the artist? Make the space good for yourself. Let your creativity flow.

[Alicia]

Well, you know, I think that making music is. I see it kind of. It's kind of sacred. You have to really be vulnerable, you know, when you make music. So I always try to, like, you know, it's very mental in a way. You have to feel comfortable. You have to feel like you're in a safe space to try different things, you know, especially if you're in sessions with different people or with the artists, you always have to make sure there's a good vibe, a good energy. So, you know, Palo Santo, I love the smell and, you know, obviously the energy, you know, around it. But, yeah, just, I think mentally, you know, I always try to have a good. To be in a good mental space and whatever that is before the session and before getting with the artist, you know, I always try to either. It could be like listening to music and just kind of sort of a meditation. Whatever works. It's very personal. I don't know. I always try to listen to music and clear my ears in a way, you know, and. And, yeah, sometimes it could be just taking a walk or it depends. But, yeah. Goodness.

[Unknown Host]

Every morning I light a candle.

[Alicia]

Yeah.

[Unknown Host]

For anything else, I just light a candle. I just want it just for a few minutes.

[Alicia]

Yeah, yeah, yeah, yeah, yeah.

[Unknown Host]

Set the intention for the day, you know, Exactly.

[Alicia]

Whatever works. Whatever works for. For you and for anyone, really. It's like, you know, before you do something. And again, we're not dealing with numbers. We're really. This is, you know, music is very, very artsy. So always be in a good mental space. Ideally, obviously, there's good days and then less good days. But speaking of less good days, you.

[Unknown Host]

Told Billboard, Elisa, you said, and you face a lot of challenges, like stepping into rooms where I'm the only woman in that room. It took a long time for me to gain that respect. What kind of challenges are we talking about?

[Alicia]

You know, I think again, like you said earlier, there's, you know, there's the numbers, and women in the industry is very low. And even though we're doing, you know, good progress throughout the last few years, I think there's still a lot of work. Work to be done. And again, I think the challenge is just, you know, it's. It's just a very tough industry. The music industry, like, I'm sure a lot of, you know, the entertainment industry in general. It's. It's, you know, you have to really have thick skin and really be, you know, grounded and really believe in yourself first and, you know, first and foremost and really always just trusting your gut and trusting, you know, that you got this. And sometimes, you know, it could be very intense in general, you know, but also, also just challenges, as, you know, because sometimes I would step in a room and I had that feeling that I had to prove, like I had to be twice as better as someone else if another guy to just prove that I have that respect. So that's why I worked really, really hard to. And I'm still working hard. But, yeah, I think those are the types of challenges. Just working extra hard to have that just, you know, being a woman, I feel. Yeah.

[Alison Stewart]

You tell a story about Prince dming you, about a cover you posted online and telling you to keep it up.

[Alicia]

Yeah.

[Alison Stewart]

And in our next installment of this series, we're gonna have Wendy and Lisa on of the Revolution.

[Alicia]

That's her. Yeah.

[Alison Stewart]

The first woman ever be nominated in the Grammy category.

[Alicia]

Wow.

[Alison Stewart]

What message should I pass along to them or a question I should ask.

[Alicia]

Them just to keep shining. To keep shining their light in this world, you know, with their beautiful, you know, spirit. And just musically, I would love to hear more music from them, too.

[Alison Stewart]

And our last question for you is either you can ask what's your favorite album? Or what is a song that you wish you produced?

[Alicia]

I can do both.

[Alison Stewart]

Go for it.

[Alicia]

I think my favorite album, it's really tied. I would say Thriller and Off the Wall by Michael. Michael Jackson. And I think a song I wish I produced just like that right now. How I'm feeling probably overjoyed by Stevie Wonder.

[Unknown Host]

So good.

[Alison Stewart]

My guest has been Alicia, who is nominated for producer of the year non classical of the 2025 Grammys. You have been listening to our series called Women in Music Production. Thank you so much for being with us.

[Alicia]

Thank you for having me. Have a great day.

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