How has the entertainment industry evolved during your career and what major shifts do you foresee in the future?

What we do in live events is not as broad and wide-reaching as it used to be. The audiences are getting smaller and smaller. The days of 30-40 million people watching a television show on a network are gone. Which, for us, means less and less budget, which means things are going to get tighter and we have to learn how to produce things more economically. That’s the future I see, unfortunately. It’s not the moneymaker that it used to be.

What were some of the early experiences that shaped how you approach producing shows today?

I came here to California from Monroe, Louisiana, on a three-and-a-half-day bus trip with my grandmother. I lived with her, and whenever I had a gig, she would always tell me, “Be home before midnight. Nothing good happens after midnight.” At the time, I just thought, “What is she talking about?” It’s not until later that you realize the wisdom of our ancestors and our family members. So I think, for me, it was learning how to get out of my own way and learning how to listen and be present. Listen to the people that you’re working with: the musicians, the singers, the crew. Listen, and then have a plan.

What advice would you give to someone looking to build a career in live entertainment or television production today?

Do what you love, love what you do, and you’ll never regret it. Don’t get upset or take it personally, because it’s really not personal. It’s about the project. It’s about the music. It’s about uplifting this country, this community, your family, and yourself. If you can do that, then you’re good. So just play the song, laugh a lot, and go home. It’s that simple.

Looking back at your career, is there any one particular show or project that was especially significant to you?

That’s a long list, but one that stands out was when I was on tour with Gladys Knight & the Pips. We were doing a casual gig across the street from Berklee, and the drummer had played with Stephanie Mills, who was performing there that night. So we went over, and I met the music director, who said, “Well, let me get your number, because sometimes I need musicians when I’m putting bands together.” Later, he called me and said, “I’ve got this girl who sings in my church who’s trying to get a record deal.” That was Whitney Houston. 

So you never know where it’s gonna come from. You have no idea. That’s why I think it’s important that we all understand you have to be the best version of yourself at all times. Not sometimes. Be the same. That way, people know what they’re getting when they see your name or your face.