Andreas Rizek brings an enviable amount of experience to his work as an A&R representative at global electronic music powerhouse Ultra Music and Ultra Music International Publishing; a gig for which the 27-year-old Rizek is uniquely suited, given his previous work as SOCAN’s A&R Co-Ordinator, co-founder of his own label, Downpour Inc., a producer and DJ in his own right, and his lifelong passion for music.

“Music was always a big thing in my household,” Rizek says, explaining that he studied guitar, and played in bands ranging from punk to ska, and later “post hard-core Emo” outfits from an early age. It was only natural then, after he began a course in Music Business and Audio Engineering at London, Ontario’s Fanshawe College, that he’d find another outlet for his creative impulses.

Under the name Cosella, Rizek launched a career in electronic music, appearing at events including the Digital Dreams Festival Toronto, landing plum opening slots for major electronic artists, and releasing several records. Those included a remix of Destructo’s “Catching Plays,” featuring Pusha T and Starrah, and an EP, Paranoia, on Skrillex’s label in 2016.

He also continued to develop his A&R chops – getting hands-on, and ears-on, education for the job as an intern at The Feldman Agency and Sony Music Canada, and making a fortuitous connection with SOCAN’s Chief Membership & Business Development Officer, Michael McCarty. “I met Michael at [the] MIDEM [international music conference], and I guess he liked me, because he said he wanted me to come work for SOCAN when I finished school.”

Over the course of his 2015-2017 stint at SOCAN, Rizek established a relationship with Ultra’s founder and president, Patrick Moxey. “But I wasn’t looking to switch jobs,” he says. “I was learning a lot from my boss and mentor, Rodney Murphy, and Mike. They’d given me a lot of responsibility, and I really enjoyed what I was doing, but when I told them I had this opportunity, they were really supportive.”

Andreas Rizek, Ultra MusicSince being hired in 2017 by Moxey, and Ultra Canada’s Co-President Asim “Awesome” Awan, Rizek has focused solely on stewarding other artists’ careers. “This was a big career jump and I knew I needed to give it 100 percent” he says, adding that losing a significant amount of his sample library and musical projects in a computer meltdown a few months prior had already slowed down his musical output. But his background as an artist has always informed his work in A&R.

At SOCAN, Rizek was heavily involved in helping to identify and work with emerging Canadian talents in the electronic and hip-hop space. “At the time, hip-hop and electronic music maybe weren’t getting the most attention in Canada,” he says, “but they were becoming the biggest genres in the world, and lot of Canadians were getting placements and attention in the U.S.

“I think the big thing I took from working at SOCAN was being involved with artists, producers and songwriters really early in their careers and being able to ‘read’ the teams around them so I could say, ‘Okay they have the right people around them, saying the right things. This is going to happen.’ In my role now, you need to leverage those relationships, and that really helped. We’re a multi-national, multi-office business, but it’s not ‘divisional,’ where you have a Canadian office and just work on Canadian signings; we all work together.”

Consequently Rizek’s day-to-day finds him juggling his publishing and label roles with various projects; and fostering relationships – with artists, managers and producers, internationally, to get their artist’s music and stories heard.

Three important considerations for potential signings

  • “I listen to the music first. Having prior placements does help, frankly, but being personable, and a good person to work with, is super-important.”
  • “I’m looking for somebody who’s mentally ready for a deal with a company that’s very creatively involved. They have to be ready to put it all on the line and give 100%.”
  • “Talking to them as a human being and building a personal connection, because that helps me determine how I can help them create a sustainable business for themselves.”

“No two days are the same,  but that’s why I love it,”says Rizek.

The deep roots Rizek’s put down in the industry have been instrumental in his signing Canadian-based Nick Henriques (who co-wrote “Body” with Loud Luxury – one of the biggest dance hits of 2018), and producer Bijan Amir. Currently, Rizek is also working closely with other international artists, such as Billy Kenny, who Rizek signed – his first label signing – in October 2018.

“Adrian Strong was instrumental in the signing of Bijan with me, who was the first publishing signing since i had joined the company in January 2018,” says Rizek. “At the time ‘Ric Flair Drip’ was at 50 million Spotify streams. Now it’s up to one billion on all platforms. He’s a great person to work with. And Nick, funny enough, his brother and manager, Eric, is one of my best friends, and we work really well together as a team.”

As exciting as the success and accolades garnered by the artists he works with may be, the most important thing for Rizek is having an impact on his artists on a personal level. “Seeing them define themselves and change, but also helping them to do that as artists and people,” he says. “That’s what I like about this job.”

Vancouver, circa 1983. The 16-year-old son of a sculptor glimpses the world of radio. He’s hooked. There’s only one problem: he’s too young to work as a DJ. The solution: care for the lawns until you’re old enough to get on-air.

A fairy tale? Perhaps for some, but not for Allan Reid; this is the true story of how he entered the music industry. Thirty-six years later, the soft-spoken Reid heads up CARAS (the Canadian Academy of Recording Arts and Sciences), the organization behind the JUNOs, as its President and CEO.

Growing up in Kelowna, BC, Reid loved vinyl and making mixed tapes. The thought of working somewhere with a library filled from floor to ceiling with records is all the teen needed to have his “aha” moment of knowing where his vocation lay. A shy kid, music was Reid’s language.

“I made mixed tapes for girlfriends, and played in high school bands, but was a frustrated musician,” says the 52-year-old. “Music, for me, was a way to convey my emotions that I otherwise couldn’t do.”

By the time Reid was 18, he’d done every job at the local radio station, and was appointed the music director – while spinning records at a nightclub on the side. “I had just graduated from high school, and was picking music for the station,” he recalls. “Slowly, I got to know all of the music company reps, and thought that that would be a cool gig.”

Reid’s first A&R signing

At 24, Reid met an artist who, nearly 30 years later, he counts as one of his good friends. It all started with a demo tape and a recommendation from Doug Chappell, the head of Virgin Records at the time. Doug told Reid that his roster was full and couldn’t sign this singer-songwriter, but the potential was there, and urged his fellow music industry mate to give the songs a listen. Reid’s initial reaction: “utterly depressing” songs. “All I wanted to do was a sign a rock band,” he recalls. “I was trying to find the next Tragically Hip!”

Out of courtesy to Chappell, he soldiered on and listened to all 14 songs over the week. The voice was nice, but Reid was ready to give it a pass. Once again, something outside his control happened that shaped his journey. “That night I had a blowout fight with my girlfriend,” he recalls. “As I was driving up Warden Avenue to the office the next morning, I put the tape back on and the song, ‘I Don’t Love You Any More’ came on, and it just ripped my heart out! It was a grey day and I arrived at the office with an immediate need to call my girlfriend and apologize.

“This song spoke to me, so went into my office and turned it up loud,” Reid continues. “A few colleagues stopped in asking, ‘Who is that?! What a voice!’ I replied, ‘It’s Jann Arden.’ All of a sudden, the other songs on that album all made sense… I was a 24-year-old rock dude and this music was speaking to me, so I knew it would speak to a lot of other people.”

Fate answered Reid’s dreams; he received a call from A&M Records offering him a job as a promotions rep in Vancouver. Of course he took it, continuing the rapid rise of this record man, from landscaper to music shaper. It didn’t take long for the head honchos in Toronto to see Reid’s potential. His next stop was promo work for Polygram Records (who had just bought A&M) in Ontario’s capital.

“This was the start of big business in the late ‘80s and early’ 90s and all of the consolidation/conglomeration,” Reid recalls. “My boss, Joe Summers, called me in to his office and said, we’re making changes, and you are the new head of A&R. I was like, ‘I don’t know how to make records.’ Joe replied, ‘That may be true, but you have an uncanny ability to pick the hit single on a record, so go find me artists who can make great music.’”

Reid didn’t believe he could do A&R, but Summers was a master motivator; he accepted the job. “I inherited a roster, and one of my first challenges was deciding what to do with it,” Reid continues. “Summers told me I had to drop half of the artists. That was the most horrifying part of my life, but taught me a lot about this business, where you have to say no 99 percent of the time.”

After his first signing (see sidebar), from Polygram to his days with Universal Music, Reid had the chance to work many great artists, like Sam Roberts, The Doughboys, Matthew Good and Jully Black. “I’ve had the incredible good fortune to help artists navigate waters and be their champion, inside and outside the company,” Reid says. “Many of them have remained friends.”

In 2011, Reid was named Director of CARAS’ charity MusiCounts; three years later he was promoted to President/CEO of the not-for-profit. He notes with pride CARAS’ four pillars: to educate, develop, celebrate, and honor. “We’re with artists from birth to myth,” he explains. “We give them their first instrument, and see them through their career until they are in the Hall of Fame.”

During his tenure at the helm of CARAS, he’s seen an explosion in the quality and quantity of homegrown talent. This year there were more than 2,800 JUNO submissions – an amount that’s doubled in just seven years.

“I have the best job in the world,” he says. “The old adage, ‘If you love what you do, you won’t work a day in your life,’ certainly applies. I feel I’ve had a lifetime of that. I’m an ambassador of Canadian music. From a kid growing up mowing lawns, to where I am now, I couldn’t be happier.

“There’s been an explosion in the creation of music, people seeking recognition for that music, and artists just looking for their music to be heard and noticed,” Reid adds. “What I love more than anything – the A&R guy in me – is discovering new music! It fuels me. I listen to all the nominees and figure out ways to put them into opportunities throughout JUNO week.”

It may have been the sweetest migraine Aaron Goodvin ever endured.

True, migraine headaches generally aren’t positive experiences, but Goodvin was laying in agony on the couch of his Nashville home in 2012, when his co-writers Cole Swindell and Adam Sanders burst through the door with some exciting news: country superstar Luke Bryan had cut their song “Out Like That.”

“That started changing everything,” says Goodvin. “I’d moved [from Alberta] to Nashville about nine years ago, and I was ready to move home about the time everything started happening.”

On Music Row, however, just because a song is cut, doesn’t necessarily mean it’ll make the album. Luckily for Goodvin, when Bryan eventually released his No. 1 Crash My Party in 2013 – an album that’s sold four million copies and is still in the Top 30 of the Billboard U.S. Country Album charts six years later in 2019 – “Out Like That” had made the grade.

“That was the longest eight months of my life,” jokes Goodvin, whose U.S. album song placements include “A Dozen Roses and a Six-Pack” for Cole Swindell’s gold-selling, self-titled debut album in 2014, and “Trash A Hotel Room” for Jon Pardi’s 2014 debut Write You a Song.

“After Luke cut that song, it was a lot easier to get in the door,” says Goodvin. “You meet with someone and they say, ‘Oh, you have a Luke Bryan cut.’ I ended up signing with Warner-Chappell for four years, which was a huge, transforming time for me. I was able to write songs, and learn how to get better at it.  It was a very important part of my career.”

As promising as Goodvin’s vocation is in terms of development South of the border – where he’s signed to Retriever Records, and was recently named by Billboard as one of seven country acts to watch – it’s going gangbusters here at home.  The Warner Music Canada smash hit “Lonely Drum” was the only Canadian country single certified platinum in 2017, and earned him 2018 CCMA Songwriter of the Year honours (along with co-writers Skip Black [BMI] and Catt Gravitt [SESAC]).

“Basically, we were writing this song called ‘Trying to Forget You,’ that nobody has ever heard,” Goodvin recalls. “We demoed the song, a rip-your-heart-out ‘80s hair ballad, and after we’d written it, Catt said, ‘I just love that song because it beats on that lonely drum.’ And I said, ‘What did you say? Whoa – I wanna write that!’ I kicked into the first groove that you hear on that song, and after no more than an hour – probably 45 minutes – it fell out.

“It took three years before we put ‘Lonely Drum’ out, and in that time we pitched that song everywhere. Radio had warmed up to my name so when we put out ‘Lonely Drum,’ the only word I could think of is that it begged for a reaction. I remember playing the Fort McMurray Casino in Alberta, a three-night gig – and we had to play it every set. It just changed everything.”

Now with a brand new album called V (the letter, not the Roman numeral, named after Aaron’s wife Victoria), a No. 1 Canadian chart-topper with “You Are,” and positive response to his  single “Bars & Churches,” Goodvin holds hopes to graduate to headliner status by 2020, following touring apprenticeships with Johnny Reid and Gord Bamford.

“I don’t know if the fact that I’ve had a number-one song has actually sunk in,” Goodvin admits. “I feel like I’m still the struggling musician guy, but I sent it in to Warner, and they thought it was a standout song. Warner and I have a great relationship, where I make the record, and they pick what’s going to work…”

It’s a journey that’s been working for almost a decade, although Goodvin admits he’s been dreaming about success since early family gatherings back home in Spirit River, an hour north of Grand Prairie, Alberta.

My family all plays country music recreationally,” he says. “We camped a lot, growing up in Northern Alberta. My family is always looking for an excuse to get together, pull the guitars out, and have a good time. Some of my fondest memories are being up at 2:00 a.m. and listening to my family play old country songs.”

Yet Aaron Goodvin’s first musical expressions were courtesy of an unlikely source. “When I was 11 or 12, my sister and I got a karaoke machine for Christmas,” Goodvin recalls. “The first stuff I started singing on karaoke was music from The Lion King. At 12, I started playing my grandpa’s guitar, and writing songs almost immediately after that. I think at the beginning it was to try and get girls, but after that it turned into a thing.”

He eventually won the Global Country Star Search. “There was a song that I wrote called ‘The Booster Juice Song,’ and it’s about being stood up at a Booster Juice,” says Goodvin. “That was a song where people thought, ‘Yeah, the kid can actually write songs.’ That was probably the one that made me a songwriter, I think.”

Wedding Video? Music Video!
Aaron Goodvin’s video for his Top 10 hit “Woman In Love” is actually his real-life wedding to wife Victoria. The suggestion apparently came from Warner Music Canada Vice President Steve Waxman. “They were having a meeting about doing a video for ‘Woman In Love,’ and treatments were coming in about a couple who are getting married. Waxman said, ‘Isn’t Aaron getting married in two weeks? Maybe we should do it there.’ Everyone was high-fiving over the idea until someone said, ‘Shouldn’t you ask Aaron’s wife-to-be first?’ But she was super cool about it – as long as it didn’t get in the way of the wedding. That video had everyone I loved in it, and is a really great keepsake we’ll show to our kids one day.”

Goodvin set his sights on Nashville from the beginning. “I love and I’m very proud of where I’m from,” he says, “but I had these gi-normously huge dreams – that’s where I was going to go and that’s what I was going to do.

“I was really lucky, because I started making trips to Nashville when I was 18. I had a pretty good idea on how the industry worked by the time I moved there. I met one guy – Miles Wilkinson (Anne Murray, Emmylou Harris, Guy Clark producer/engineer, born in Toronto) – really early on. I was playing a little pub in Edmonton, and he’d seen me there, and said I needed to be writing songs in Nashville.  I had co-writes with published writers from the time I showed up there. So, I feel really, really lucky to experience that part of Nashville before I really had to work for it.”

As a writer, Goodvin says he’s a melody guy, first and foremost. “That’s my knack,” he explains. “When I got the Luke cut, it was me playing guitar and contributing the melody most on that song. Throughout the years, I’ve learned to be a much better lyric writer than I used to be.”

Goodvin, who suffered from Attention Deficit Disorder as a youth, also prefers the collaborative process than writing solo. “It’s very hard for me to sit in a room by myself, and put up with myself for three hours,” he chuckles. “I’ve written songs by myself in the past, but I think co-writing is where I’m able to sit still long enough, and I love having reassurance from somebody else that really helps me finish a song.

“With a collaboration, you also get more energy in a song. So for me, I’m pro co-writer, man. What makes a great co-writer is somebody who gets you, and understands what you like. Literally, the best times I have is when I go into a room, I laugh all day, have fun with my friends, and walk out with a song.”

And that’s the way Aaron Goodvin likes his songwriting: no headaches.