We organized a masterclass with Lostboy in December 2019 at the London College of Music. The event was organised with the help of The MNGR; a student society, and was hosted by Richard Iordan.
Lostboy is a producer and songwriter whose credits include work on tracks for artists like Zedd, Kehlani, Anne-Marie, Ellie Goulding and more. Lostboy is also busy working with Tom Mann on his artist project; ‘aboutagirl’.
We are excited to share Lostboy's story in this interview about his creative process, collaborations with other artists, and his ‘aboutagirl’ project.
What music have you been listening to recently?
All sorts of stuff. I just try to stay in the loop with everything new in this sort of pop sphere that I’m working in, but also whatever people recommend, sort of weird bits and bobs. I found this guy, and maybe you guys have heard of him; Moses Sumney, recently, just incredible, such an amazing artist. I’m just always really inspired by artists, and I’m a songwriter as well as a producer, so I feel like for me the song is always king. To be honest, I kind of consider myself more of a songwriter than a producer, but it’s just worked out that way that I’m often producing stuff as well, so I’m just always listening to songs. I listen to a lot of country music actually, because that is often the purest form of ‘song’ in terms of just delivering a concept as clearly as possible, which is often what you have to try and do in pop music and the kind of music I make day-to-day. I grew up listening to really lame early hip-hop like Jurassic 5, and that kind of stuff. My dad was a classical singer, so he listens to a lot of classical stuff, so, to be honest, I listen to anything and everything.
How would you incorporate that influence into your process of songwriting?
Lostboy: I don’t know, just be as open-minded as possible. It’s weird, because I’m never consciously incorporating any of it, I think just the idea of being open-minded and listening to an artist or the team that surrounds the artist, A&R team.
Is there a specific way that you start on something or is it just an idea that comes to you and you roll with that?
It depends on the situation, the majority of the time in the studio I’m with an artist or we’re writing to pitch for a specific artist, so, there is normally at least an hour of just chat and trying to get to know someone, and just trying to understand what they’re looking for. You can be the best producer in the world, but if the sound is not right for that artist then no one gives a fuck anyway, it’s kind of a waste of time.
Do you ever have any trouble with finishing and writing music? Do you have any tips or mind tricks to help with finishing work, or is that something you don’t have trouble with?
I do occasionally. I definitely have trouble with things that I don’t like as much, but I guess you just have to try to make stuff that you like. I guess the biggest tip I could give is to not be too proud, and to make sure you get third-party input from fellow producers or whoever. People often get really in their heads when they’re stuck on something, because you suddenly become so self-conscious of it, and if you don’t think it’s right, it can really turn into this thing that’s bigger than it is, and as soon as you get someone else’s perspective it’s just like you know; “The kick’s wrong or whatever,” then it can suddenly become pretty clear. I don’t really have any tricks for writer's block, just keep your process fresh, try not to do the same thing every day, I think that’s it.
So, don’t get stuck in the routine?
Yeah, I don’t know if you guys start with templates or whatever, or if your producers or songwriters have a template of their ‘go-to sounds’ or their vocal channel presets. You can easily just get into a habit, especially when you’re under pressure to deliver something, of just pulling up the stuff you feel safe with, then often you end up making a lot of songs that sound similar because you’re using the same tools. I would try and sort of switch that up, If I feel like I’m getting in a rut.
On the flip side, do you feel like maybe you go too crazy and have to reel yourself in?
Sometimes, but I never feel like there’s a negative outcome of that, really. I mean the only downside of that is that maybe you end up with something that doesn’t end up getting used, but then you’ve probably got something else out of it, you’ve learnt a different way of doing something, so it’s not like a fruitless thing. So, no, not really, I think it’s a healthy thing to do for sure.
How was it not having a manager for a while and then trying to find one? What were your specific requirements for a manager, and how did you then meet him?
Well, I’m not the best example because I’ve had my manager for a long time, almost four years now, and we sort of started together. The first thing I ever had was a lawyer actually, because if you think about it, lawyers are the most connected people in this industry because they have to have conversations with everyone, they’re at every end of every deal, so if you can find yourself a good lawyer who’s willing to invest a bit of time, and can put together some sort of a ‘favour deal’ where you pay them back when things are going well, then it’s such a good thing to do because they’re so connected. That’s how I met my manager who was an A&R at Virgin/EMI, and he signed Corinne Bailey Rae, people like that, and then when he left, he was like; “I think I want to be a manager.” But when I first met him there wasn’t very much going on, we both sort of came up together, which is why I think it works so well, and we’re just as hungry as each other. We know each other really well and things just get done without either of us having to say anything. I think the key to a good manager is someone who gets you and understands your process, that’s also able to open some doors, but I don’t think you should ever rely on someone like that. I think it’s always got to be on you, because if your manager is hit by a bus the next day, then where does that leave you? Worse off? If it leaves you MUCH worse off then you probably need to assess where you’re at. We just happened to find each other at the right time and came up together.
What is your opinion on ghost-writing in producing?
I don’t really care, as long as someone is aware of the situation they’re in. If you’re a ghost-writer for Diplo, he’s a good example, he’s got a team of people, but they’re all very aware of their roles in this and he’s very aware of their role in it. He knows he’s the face of it and he’s got to be all over the place doing shows, and he doesn’t have time to do everything himself, so he’s got these kids that are doing it and they’re fucking loving it, it’s the biggest opportunity of their lives, and they can go on and move up the ladder. Talking about that is the first thing they do, which is a pretty amazing thing to be doing. Obviously, it’s shady if you are hiding the fact, and the person who is actually doing the work doesn’t get any credit or isn’t paid for their work, then obviously that’s not cool. You’ve got to remember that people in the normal world don’t even realise that Rihanna doesn’t write all her own songs, so, in a way, we’re all ghost-writers. It doesn’t bother me.
When you are working on your project ‘aboutagirl’, are there any clear inspirations and influences that you take from what you do, and do you apply these to your other projects?
I don’t apply anything musically, in fact it kind of works the other way around, because I was writing and producing songs for other artists before being an artist, so I kind of see the artist project as an outlook to what I want to do or enjoy. The one thing that I take from the artist project and the other sessions, is that sort of being aware of what it’s like to work with a label and the pressures that can come from that, so then I’m aware that the artist might be going through that and how it works. It’s a useful perspective to have for sure.
Do you feel that working for other artists as a producer is liberating in a way, because it might seem a little bit more stable?
Yeah, it is kind of liberating, but also safe in a sense. There’s always going to be that, or I hope there’s always going to be that, to do, and if the artist thing just collapsed then I’d still be able to pay rent, and in a way that kind of opens up the artist thing so that we can be a bit more free with it, and sort of artistically don’t have to worry about it being as ‘commercial’ as whatever else.
I’ve noticed in a few of your tracks, specifically in ‘Good Thing’ and ‘Revival’, you have a very specific kind of punchy kick and snare, almost like it’s your sonic signature. Is there a specific inspiration why you do that, and are there any inspirations behind the harmonies on Kehlani’s voice?
The kick and snare thing is probably because I‘m a drummer, and that’s how I started. I mean keys were the first thing that I ever did, but then in high school I was a drummer, so, I guess I’ve always been super conscious of that. For me, the most important parts of any production are vocal, kick, snare, probably in that order. So, I‘m sure it’s a subconscious thing where I focus on those bits, and harmonically in ‘Good Thing’ we weren’t really referencing anything, it just sort of happened to be how we wrote that song, and what we were playing on the piano, because we kind of started the whole thing on a piano. Also, the writer I was with, she’s a great singer, and when you’re with someone who can kill their 5-part harmony then you just do it because it’s kind of fun, assuming that someone’s going to delete it later, but it worked out fine in that case.
Was there a certain initial nervousness working with someone like Zedd?
The thing with the Zedd song, for example, is that we’d never met until it came out because we live on other sides of the world, and it was a really quick process with that song, which is kind of weird and doesn’t happen that often. But he had the song, and suddenly everything got flipped around in his world, and he scrapped the single they had lined up, and that sort of took its place, and then it was just like a mad dash of trying to get it finished, and to get the vocals. I didn’t meet him until I was on a writing camp in Vegas, and he was playing at Vegas the week before it came out, and we just got really drunk and hung out, but it was so weird to never meet someone and then sort of create this thing together.
What is your opinion on ghost-writing in producing?
I don’t really care, as long as someone is aware of the situation they’re in. If you’re a ghost-writer for Diplo, he’s a good example, he’s got a team of people, but they’re all very aware of their roles in this and he’s very aware of their role in it. He knows he’s the face of it and he’s got to be all over the place doing shows, and he doesn’t have time to do everything himself, so he’s got these kids that are doing it and they’re fucking loving it, it’s the biggest opportunity of their lives, and they can go on and move up the ladder. Talking about that is the first thing they do, which is a pretty amazing thing to be doing. Obviously, it’s shady if you are hiding the fact, and the person who is actually doing the work doesn’t get any credit or isn’t paid for their work, then obviously that’s not cool. You’ve got to remember that people in the normal world don’t even realise that Rihanna doesn’t write all her own songs, so, in a way, we’re all ghost-writers. It doesn’t bother me.
When you are working on your project ‘aboutagirl’, are there any clear inspirations and influences that you take from what you do, and do you apply these to your other projects?
I don’t apply anything musically, in fact it kind of works the other way around, because I was writing and producing songs for other artists before being an artist, so I kind of see the artist project as an outlook to what I want to do or enjoy. The one thing that I take from the artist project and the other sessions, is that sort of being aware of what it’s like to work with a label and the pressures that can come from that, so then I’m aware that the artist might be going through that and how it works. It’s a useful perspective to have for sure.
Do you feel that working for other artists as a producer is liberating in a way, because it might seem a little bit more stable?
Yeah, it is kind of liberating, but also safe in a sense. There’s always going to be that, or I hope there’s always going to be that, to do, and if the artist thing just collapsed then I’d still be able to pay rent, and in a way that kind of opens up the artist thing so that we can be a bit more free with it, and sort of artistically don’t have to worry about it being as ‘commercial’ as whatever else.
I’ve noticed in a few of your tracks, specifically in ‘Good Thing’ and ‘Revival’, you have a very specific kind of punchy kick and snare, almost like it’s your sonic signature. Is there a specific inspiration why you do that, and are there any inspirations behind the harmonies on Kehlani’s voice?
The kick and snare thing is probably because I‘m a drummer, and that’s how I started. I mean keys were the first thing that I ever did, but then in high school I was a drummer, so, I guess I’ve always been super conscious of that. For me, the most important parts of any production are vocal, kick, snare, probably in that order. So, I‘m sure it’s a subconscious thing where I focus on those bits, and harmonically in ‘Good Thing’ we weren’t really referencing anything, it just sort of happened to be how we wrote that song, and what we were playing on the piano, because we kind of started the whole thing on a piano. Also, the writer I was with, she’s a great singer, and when you’re with someone who can kill their 5-part harmony then you just do it because it’s kind of fun, assuming that someone’s going to delete it later, but it worked out fine in that case.
Was there a certain initial nervousness working with someone like Zedd?
The thing with the Zedd song, for example, is that we’d never met until it came out because we live on other sides of the world, and it was a really quick process with that song, which is kind of weird and doesn’t happen that often. But he had the song, and suddenly everything got flipped around in his world, and he scrapped the single they had lined up, and that sort of took its place, and then it was just like a mad dash of trying to get it finished, and to get the vocals. I didn’t meet him until I was on a writing camp in Vegas, and he was playing at Vegas the week before it came out, and we just got really drunk and hung out, but it was so weird to never meet someone and then sort of create this thing together.
What is your opinion on ghost-writing in producing?
I don’t really care, as long as someone is aware of the situation they’re in. If you’re a ghost-writer for Diplo, he’s a good example, he’s got a team of people, but they’re all very aware of their roles in this and he’s very aware of their role in it. He knows he’s the face of it and he’s got to be all over the place doing shows, and he doesn’t have time to do everything himself, so he’s got these kids that are doing it and they’re fucking loving it, it’s the biggest opportunity of their lives, and they can go on and move up the ladder. Talking about that is the first thing they do, which is a pretty amazing thing to be doing. Obviously, it’s shady if you are hiding the fact, and the person who is actually doing the work doesn’t get any credit or isn’t paid for their work, then obviously that’s not cool. You’ve got to remember that people in the normal world don’t even realise that Rihanna doesn’t write all her own songs, so, in a way, we’re all ghost-writers. It doesn’t bother me.
When you are working on your project ‘aboutagirl’, are there any clear inspirations and influences that you take from what you do, and do you apply these to your other projects?
I don’t apply anything musically, in fact it kind of works the other way around, because I was writing and producing songs for other artists before being an artist, so I kind of see the artist project as an outlook to what I want to do or enjoy. The one thing that I take from the artist project and the other sessions, is that sort of being aware of what it’s like to work with a label and the pressures that can come from that, so then I’m aware that the artist might be going through that and how it works. It’s a useful perspective to have for sure.
Do you feel that working for other artists as a producer is liberating in a way, because it might seem a little bit more stable?
Yeah, it is kind of liberating, but also safe in a sense. There’s always going to be that, or I hope there’s always going to be that, to do, and if the artist thing just collapsed then I’d still be able to pay rent, and in a way that kind of opens up the artist thing so that we can be a bit more free with it, and sort of artistically don’t have to worry about it being as ‘commercial’ as whatever else.
I’ve noticed in a few of your tracks, specifically in ‘Good Thing’ and ‘Revival’, you have a very specific kind of punchy kick and snare, almost like it’s your sonic signature. Is there a specific inspiration why you do that, and are there any inspirations behind the harmonies on Kehlani’s voice?
The kick and snare thing is probably because I‘m a drummer, and that’s how I started. I mean keys were the first thing that I ever did, but then in high school I was a drummer, so, I guess I’ve always been super conscious of that. For me, the most important parts of any production are vocal, kick, snare, probably in that order. So, I‘m sure it’s a subconscious thing where I focus on those bits, and harmonically in ‘Good Thing’ we weren’t really referencing anything, it just sort of happened to be how we wrote that song, and what we were playing on the piano, because we kind of started the whole thing on a piano. Also, the writer I was with, she’s a great singer, and when you’re with someone who can kill their 5-part harmony then you just do it because it’s kind of fun, assuming that someone’s going to delete it later, but it worked out fine in that case.
Was there a certain initial nervousness working with someone like Zedd?
The thing with the Zedd song, for example, is that we’d never met until it came out because we live on other sides of the world, and it was a really quick process with that song, which is kind of weird and doesn’t happen that often. But he had the song, and suddenly everything got flipped around in his world, and he scrapped the single they had lined up, and that sort of took its place, and then it was just like a mad dash of trying to get it finished, and to get the vocals. I didn’t meet him until I was on a writing camp in Vegas, and he was playing at Vegas the week before it came out, and we just got really drunk and hung out, but it was so weird to never meet someone and then sort of create this thing together.
(Lostboy co-produced and co-wrote ‘Good Thing’ by ZEDD feat. Kehlani)
When working with other artists, how do you try to get the best out of them? Because sometimes it can be a bit intimidating for them.
I always think it’s a two-way street, it is scary for them, but it’s also fucking scary for us because we’re sat there like; “Holy shit, I’ve got to create this thing while they’re here and it better be good, otherwise, it’s not going to go anywhere,” so, I think that being open about that is cool because it breaks the ice and makes people realise that you are a human and not just a ‘beats robot’. Talking is the main thing, I know so many producers who will sit in silence for hours and turn around every now and then and be like: “So, what have you got” and it’s like we forgot you were there, what are you doing? I think it’s just talking to people, and it is awkward sometimes, I‘ve had people sit in a session with sunglasses on and be like; “I hate writing sessions,” to my face like; “Uh, ok, this is fun.” You’ve just got to work through it. It is what it is. It’s a defence mechanism most of the time, if people are being awkward or rude, it’s just because they feel awkward or that they’re in a weird position, so, you’ve just got to work through it.
Do you have any little tricks or things that you do to get artists to open up? Like getting lunch with them before the session for example.
I’ve never really done that, but I definitely make an effort to hold a conversation with someone for an hour before we actually start writing, to see where they’re at on a personal level, or even musically, just to see what’s going on in their life, because even if you write the worst song ever they might want to come back to you and work with you just because it was a cool hang or whatever. So, that’s the only trick.
Can you share what projects are you currently working on?
I was with Zara Larsson this week just finishing a song that I wrote in LA. Paloma Faith. I’ve been doing a lot with Bastille, which has been cool. Ellie Goulding, Tom Grennan. I’ve got it all on my phone on my calendar. But yeah, a real mix, it’s not just one genre, it is literally everything, and that is kind of how I’d prefer to have it for sure.
Is there anyone in particular that you would want to work with?
I’ve always wanted to work with Julia Michaels, but I did that in the summer this year, so that’s kind of like a massive ‘bucket list’ thing for me. I feel very lucky that I’ve had a chance to work with most of the people I want to work with. I'd love to have songs out with certain people, but you know you’ve just gotta keep hustling.
Follow Lostboy on Instagram: @areyoulostboy
