Trapital Podcast: James Supreme on Being the A&R Behind Lil Nas X’s “Panini”, G-Eazy's Management Team, and Why Mental Health Matters in the Industry
Host: Dan Runcie
Guest: James Supreme
Release Date: October 10, 2019
Overview
In this episode, Trapital’s Dan Runcie welcomes James Supreme, A&R at Universal Music Publishing Group. James, known for his work with Lil Nas X, G-Eazy, Lil Dicky, and contributions to Beyoncé's The Lion King: The Gift, delves into his approach as an A&R, the intricacies of artist and producer management, and the critical importance of mental health in the music industry. The two discuss viral music success, the realities of race in hip-hop management, strategic artist development, and the shifting landscape of music distribution and sales.
Key Discussion Points & Insights
1. Experiencing an Earthquake & California Life
- [00:07–01:52]
The episode opens with a light-hearted conversation about experiencing an earthquake in San Francisco. Both reflect on their personal encounters with earthquakes and adjust to the California lifestyle.
2. The Genesis and Success of Lil Nas X's "Panini"
- [01:52–04:17]
- James recounts his early involvement in Lil Nas X’s journey, working through connections at Columbia Records to pair Lil Nas X with producers Take a Daytrip (David and Denzel).
- On the process:
"As an A&R, my job is kind of work in tandem with the A&Rs on the label side and say, hey, these are the producers or writers I think would be really dope to work on this project. What do you think?" — James Supreme [02:31]
- The pairing with Take a Daytrip produced "Panini," Lil Nas X’s first studio session after "Old Town Road." The collaborative chemistry resulted in a hit.
3. The Artistic and Technical Approach to Songwriting (Lil Nas X & Lil Dicky)
- [04:17–08:10]
- Discussion on Lil Nas X’s growth-hacker mindset—understanding both the art and science of making virally successful music.
"I call him a growth hacker who happened to be an artist. Him thinking about SEO and all the things about getting a song like that to hit..." — Dan Runcie [04:17]
- James notes Lil Nas X’s unique ability to have a clear narrative direction before hearing a beat, drawing parallels to Lil Dicky’s methodical concept-led songwriting.
- Discussion on Lil Nas X’s growth-hacker mindset—understanding both the art and science of making virally successful music.
4. Studio Moments & The Story Behind "Panini"
- [08:16–11:39]
- James describes hearing "Panini" early in the studio session; the song's hook was reminiscent of Nirvana’s “In Bloom,” but the similarity was accidental.
- Lil Nas X chose the name "Panini" based on a Chowder cartoon character, using it as an allegory for fans wanting him to repeat his earlier success.
"The fact that Panini is, you know, one of the main characters, and she’s kind of always harassing the main character. And he related that to the new fans... who want him to continue to make Old Town Road 2, 3, 4..." — James Supreme [09:28]
- Lil Nas X leaked "Panini" on Instagram before it was finished, engaging directly with fans and leveraging social media for instant feedback.
5. The Power of Social Media and Fan Engagement
- [11:39–12:47]
- Analysis of Lil Nas X’s advanced use of social media to maintain engagement and momentum, even bypassing traditional label methods.
"He leaked his whole project on social media... he has a platinum EP, platinum album because of him staying true to what helped him get into this position." — James Supreme [12:17]
- Analysis of Lil Nas X’s advanced use of social media to maintain engagement and momentum, even bypassing traditional label methods.
6. Reflections on Race, Radio, and A&R Strategies with White vs. Black Rappers
- [12:47–16:44]
- James shares his experiences managing and touring with both Black and white artists, highlighting how Black artists often face increased scrutiny and prejudice at venues.
"It’s not a secret that the way black artists or artists that make urban music are treated at venues is completely, you know, extremely hostile sometimes." — James Supreme [13:44]
- He notes differences in industry gatekeeping, media coverage, and initial skepticism faced by artists like Lil Dicky and G-Eazy.
- James shares his experiences managing and touring with both Black and white artists, highlighting how Black artists often face increased scrutiny and prejudice at venues.
7. The Music Industry Grind & Entering Management
- [17:21–20:28]
- James recounts his hustle from college student to getting his break assisting G-Eazy’s team, and learning first-hand how hit records are made.
"[G-Eazy] looked up and said, 'Yo, I think this song is going to change my life. Are you ready for this next year?'" — James Supreme [19:45]
- Transition from logistics support to tour management, sleeping on G-Eazy's couch, and later managing artists like Lil Dicky and MadeinTYO.
- James recounts his hustle from college student to getting his break assisting G-Eazy’s team, and learning first-hand how hit records are made.
8. The Toll of Touring & Importance of Mental Health
- [22:28–28:02]
- Discussion on the relentless pace of touring and the personal cost on non-artists behind the scenes.
- James’s realization of burnout led to lifestyle changes—cutting alcohol, going vegetarian, and instituting a healthy routine to reclaim his well-being.
"As a creative person or as an A&R person that works with creatives... I can’t forget to pour into my own cup." — James Supreme [24:06]
- The challenges of taking care of an entire touring entourage and the unseen burdens of tour managers.
9. Artist Management vs. Producer Management
- [28:02–31:42]
- James contrasts managing artists with managing producers—describing producer management as "walking around the holiday party with a tray of cookies," versus the favor-asking hustle of artist management.
- The key is understanding their strengths and building an environment for organic growth and collaboration.
10. Collaboration with Beyoncé’s Team for “Brown Skin Girl”
- [31:48–35:12]
- James details connecting his producer friend, Michael Uzowuru, to Beyoncé’s The Gift project, illustrating the importance of initiative and resilience in music creation camps.
11. Industry Trends: DJ Khaled vs. Tyler, The Creator and Sales Bundling
- [35:12–38:03]
- Conversation on the changing calculus of album sales, with bundling and cross-promotion (e.g., hypothetical Popeyes partnership) questioning what counts as musical success.
"We have to really figure out how this pushes everything forward. Shouldn’t be putting people against each other on release days..." — James Supreme [35:53]
- Shifting metrics and the role of playing "the game" versus building enduring artistry (with YBN Cordae cited as an example).
- Conversation on the changing calculus of album sales, with bundling and cross-promotion (e.g., hypothetical Popeyes partnership) questioning what counts as musical success.
12. Artist Development, Ownership, and the Future
- [38:03–43:04]
- James emphasizes meaningful artist development over first-week sales and highlights Dreamville’s patient, off-cycle release strategy.
- His wish list includes working with “the next up”—emerging talent deserving of ground-level support and storytelling.
- He encourages listeners to be fully informed about industry deals, emphasizing the value of ownership over following pre-set industry blueprints.
Notable Quotes & Memorable Moments
-
On the magic moment in the studio with G-Eazy:
"He looked up and said, ‘Yo, I think this song is going to change my life. Are you ready for this next year?’ Because this is going to be the one. And he knew that." — James Supreme [19:45]
-
On the challenges for Black and white artists:
"It’s not a secret that the way black artists or artists that make urban music are treated at venues is completely... extremely hostile sometimes." — James Supreme [13:44]
-
On Lil Nas X engaging fans:
"He broke the song before we finished bouncing the MP3 file and immediately the comments. Hard. This is hard. Drop Panini. Drop Panini." — James Supreme [10:11]
-
On mental health in the industry:
"Here I am two years into this dream and I’m not happy. And then you’re like, wow, I sacrificed all of this to end up here." — James Supreme [22:53]
"As a creative person or as an A&R person that works with creatives... I can’t forget to pour into my own cup." — James Supreme [24:06] -
On producer vs. artist management:
"I always compare managing a producer to walking around the holiday party with a tray of cookies. Hey, would you like some cookies? No, you don’t want to. Okay. Here..." — James Supreme [28:26]
-
On the real percentage of music in the current industry:
"It’s only maybe 30 to 40% about the music. And then of course you have everything else that comes and supports the music." — James Supreme [37:16]
Timestamps for Key Segments
- [02:12] — James on connecting Lil Nas X with Take a Daytrip
- [04:17] — Discussing Lil Nas X's approach and songwriting compared to Lil Dicky
- [08:16] — First hearing "Panini" and its Nirvana influence
- [10:15] — The deeper meaning behind “Panini”
- [13:25] — Race and bias in touring and management
- [19:45] — G-Eazy's "Me, Myself & I" studio story
- [22:28] — Burnout and pivoting to healthier habits
- [31:58] — Working with Beyoncé’s The Gift team
- [35:12] — DJ Khaled vs. Tyler, The Creator: album sales and bundling
- [38:03] — YBN Cordae and the value of slow-building legacy
- [40:09] — James's wish list and passionate stance on working with emerging talent
- [42:07] — The importance of understanding artist ownership
Conclusion & Takeaways
James Supreme provides honest, behind-the-scenes insights into the mechanics of A&R, the intersection of artistry and strategy, and the necessity of mental health for all industry workers. He challenges artists to prioritize creative authenticity, long-term growth, and informed decision-making about the business side. This episode is a powerful listen for anyone seeking to understand not just how hits are made, but how the music machine affects and is steered by those working both in the limelight and behind it.