Exclusive Interview
Nov 18, 2024
Produced by: Rudy Manager
Edited by: Rudy Manager & Andrej Aroch
RØWAN – “Music is therapy for me, and also for others”
We sit down with RØWAN (Carlos Martin), a rising force in the industry, for an exclusive interview. Known for his work with top-tier artists like Bryson Tiller, GIVĒON, Russ, and Rick Ross, RØWAN shares the process behind some of his biggest placements and gives advice to upcoming producers. RØWAN opens up about his journey into music production, the challenges he’s faced along the way, and his thoughts on creativity, mental health, and staying true to himself. The interview was conducted by Rudy Manager via video call on November 9th, 2024.
How did you first get started with music, and how did that eventually lead to a career in music production?
Well, my family has a deep musical background. My uncle was in The Belafonte Folk Singers, and they actually won a Grammy back in 1962. Growing up, my parents always surrounded me with music. My mom really helped me develop an ear for it, pointing out different elements and things like that. They always encouraged me to play instruments, and I think that’s really how I first got into music—just by being immersed in that environment.
But I feel like everything really changed for me in high school when I heard Kanye’s Graduation album. I was a freshman, and there was this song called “The Glory” that just hit me hard. Hearing that album kind of shifted everything for me, and that’s when I knew I wanted to pursue music.
One of your first major placements was a song called “Paranoid” by Russ. Could you share the process of making that song and describe the creative process behind it?
After meeting Sevn Thomas, I started consistently sending my beats to him and Boi-1da. I would send around five to ten beats each week. Then one day, Boi-1da and Sevn told me, “Yo, you got one on Russ’s album.” I was like, “Wow, okay, cool!” It was exciting because this was my first big placement. I told my mom and dad, like, “This is really happening.” They even gave me a release date—it was June 6th. My family was thrilled.
The funny thing is, I had actually made that beat about a year before it got placed. I was going through a bit of a rough time back then, and I feel like some of the greatest things come out of those moments. Sometimes the best work comes from pain.
Do you remember where you made that beat?
I made it at my parents’ house, in this small room where I’d always make music. It was late at night—probably around 1 a.m. I think it might have been the last beat I made that night because it wasn’t really in my usual style. I was just like, “Let me see what I can come up with before I go to sleep.” It actually took me about ten minutes.
I’d like to talk about another placement you had with Bryson Tiller—the song “Like Clockwork.” Can you share the story behind that track and how it came about?
When I made that beat, I was going through another tough time in my life. I had just gotten a sample from a friend of mine, Luca, who went by Luca Starz back then. I took the sample, flipped it, added some drums, and sequenced it. At the time, I was dealing with a breakup, so I was really channeling my emotions into the drums. The sample had a vibe that could have leaned more pop or R&B, but I wasn’t feeling that. I was going through it, so I wanted the drums to hit hard because that’s how I was feeling.
The next day, I posted that beat on Instagram. I used to post beats with visuals almost daily, and Nes—who’s a close friend of Bryson’s—reached out to me. He sent me a DM saying, “Bro, I need you to send me a pack of beats.” I sent him a pack with that beat in it. About a week later, he told me, “Yo, Bryson cut a record to it, so hold onto it.” I was like, Damn, because Bryson’s one of my favorite artists. Then, two weeks after that, Nes told me it was going to be on Bryson’s deluxe album. I was super excited. It was a big moment.
Then it ended up being a single, and he even shot a video for it and everything. That was just crazy.
Is there any production of yours that you value deeply or that holds a special place in your heart?
The production that means the most to me is “White Lines” by Rick Ross. For over a decade, I’d tell my mom, “I’m going to get one with Ross.” He’s always been one of those artists we admired, so it was my goal to work with him. My mom believed in me too—she’d always say, “Yeah, you’re going to get one with him.” Manifesting that dream and then seeing it come to life was unreal.
I remember getting the call from Foreign Teck letting me know I had a placement on the album. I was super hyped. It was just an incredible feeling.
What advice would you give to upcoming music producers who want to work with established artists and build successful careers?
First, and I know it sounds cliché, but you really have to stay true to yourself. Don’t get too caught up trying to be someone else or chasing trends. You have to trust yourself. I think a lot of times we get caught up comparing ourselves to others, especially when we see someone else succeeding in the music industry. We start thinking we need to do things exactly the way they did. But in reality, you should look at their success and think, “Wow, they did it that way, so I can do it my way.” There’s no right or wrong way to make music, and there are no strict rules. Just make what feels authentic to you, what you believe is great, and let that resonate with others. It’s about creating your own world through your music.
Also, prepare yourself. Stay ready for the bumps in the road because, if you truly love music, you’ll need to be resilient. Some people might not go through tough times, but nine times out of ten, you will face challenges. Stay strong and keep your faith solid. Trust God throughout the journey.
Do you think it’s important for upcoming producers to take the traditional route of sending samples, building their YouTube presence, and growing their brand that way?
When I started around 2016, I was really active on Instagram, posting my beats regularly. But I didn’t just post them in a basic way—I wanted to pair them with visuals that resonated with the music I was making. I stayed consistent, posting regularly so people could hear my work, and I made sure to be as creative as possible to grab attention.
I feel like once you have something really good, all you need to do is get people’s attention. If your music is solid, the key is just figuring out how to make people gravitate toward you. Once you do that, they’ll want to listen. For me, posting on social media with visuals really worked because it helped me get the attention of industry producers and artists.
So, I think staying creative and constantly finding new ways to showcase your art is crucial.
I think that’s one of the ways some music producers blew up recently—by using visuals.
Exactly. I remember seeing people post beats with only the sound, no visuals at all. And I thought, “That’s not going to work for me.” I didn’t want to just look at a blank screen while listening to music. I’d watch Michael Jackson videos, and they made me want to listen to the music even more after watching. So I thought, “How can I add a visual element that creates an experience?” I wanted people to feel something when they listened to my music, not just hear it.
That was the key for me, and I feel like it really worked in my favor. But it doesn’t have to be visuals—it could be something else. You just have to think outside the box.
Which upcoming artist and producer do you currently appreciate the most for their work?
I’d say Mk.gee. I think he's doing something crazy right now with his sounds. His sound is very spacey and experimental. I really appreciate what he's doing because it's kind of against the rules. The way he plays with distortion and everything is really inspiring. He’s taking risks, and I respect that. So, I’d say Mk.gee, both as a producer and an artist. I’d definitely want to work with him one day.
Where do you see yourself in five years?
In the next five years, I see myself starting my own label. I believe I can really build a great team of creators—producers, artists, and even videographers. I’m really passionate about all aspects of art and creation. So, that’s definitely one of my goals—starting my own label and media company.
Another big goal is to be Grammy-nominated. I want to have a few nominations under my belt. Ultimately, I just want to keep pushing myself, pushing boundaries, and striving for greatness. My goal is to be one of the greatest to ever do it, and I’m going to make that happen.
Anything else you'd like to add?
I think mental health is a huge issue for creators in any industry. It’s really important to take care of your mind and maintain a healthy mental space. For me, I’ve had to really dive deep into finding peace within myself and with others. Things like eating cleaner, drinking more water, and getting enough sleep—these are things we can’t overlook. As a producer, I used to stay up all night making beats, and that’s just not healthy. You have to make sure you're getting those eight hours of sleep. It's the little things we often forget because we’re so caught up in trying to be the next big thing. But you can’t do that if you're not taking care of yourself. So, yeah, that’s really important—taking care of your mind and body.
Follow RØWAN on Instagram: @prodbyrowan
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