In this interview, we speak with Jake Schmidt, a California–based artist creating reggaeton and Latin-inspired music in Spanish. Jake shares how growing up in California sparked his interest in Latin culture, how he began collaborating with artists in Colombia, and how learning Spanish became part of his creative process. He also talks about performing original reggaeton for new audiences during Make Music Day, releasing music consistently, and his goal of connecting more deeply with the culture that inspires his sound.

You make reggaeton and Latin music. When did you first start making music?

I’ve been doing music in general for around ten years, I would say. Making the actual Latin stuff and everything in Spanish has probably been about four years.

And how did you get into Spanish music?

My whole family is 0% Latino, so I’m fully a basic white guy. But here in California we’ve had a huge influence from Mexico—food, culture, everything. I’ve had really good Spanish teachers in school that made Spanish class the best thing ever, and I really liked it. I wanted to try to become fluent, but never really did anything about it. Then I remember hearing Daddy Yankee and some of the old reggaetonero guys, and something about it was just different to me. I started making a playlist of all of it. I remember playing it at one of my friend’s houses. No one knew who was playing, but everybody liked it, probably because of the drums and rhythm. When I started making music, it was more like R&B. I started writing songs with one of my friends in LA. Then I decided I wanted to try to actually make this kind of music. I wondered how difficult it would be and what would actually be available to me. I don’t play any instruments, but there are so many tools where you can just use beats from reggaeton tracks. Then I’d think of melody ideas to put over them.  The first ones were not great. But then I found a bunch of pretty experienced people through a website online where you could pay for tracks or songwriting. I looked for people in Colombia that had reggaeton listed as their primary genre, and hopefully they spoke some English. Then I met with them, and they would fix the track and make it something. I would have the melody idea, and they would fill in the Spanish words, and I would tweak it. That made me start taking Spanish classes, since I wanted to know exactly what we were saying.

Have you had a chance to go to Colombia?

Not yet. I really want to. My two friends are in Medellín, and my Spanish teacher is also there. I’m just trying to save up, but it’s either I pay money for a song or I pay to go down there for a couple of weeks. The flights are kind of expensive, but I know once I’m there I’ll be fine. Also, the Colombian people are great, they’re the best. I feel like everybody there is so much more hardworking and not afraid of things that us American people are afraid of. Even in some of the songs, when you translate them from Spanish to English, I’m like, if I were to say this in English, my mom would kill me. Or I would be seen as weird. Most of the time it’s not even a direct translation because of the passion behind it. That passion is really interesting. It’s just super honest and expressive in a different way.

What artists or musicians have influenced your sound the most?

The one that really got me going from the beginning was Karol G for sure. I say her because the beats in her tracks are simple and straightforward. She was the first one that made me believe this was possible. Then I ended up going to one of her shows in London and I was impressed. I think her style is cool. Other artists—mostly Colombian—like J Balvin and Feid. Then some of the old ones, like Wisin y Yandel, Zion y Lennox, and Don Omar.

Did you know about these classics before getting into reggaeton, or did you first hear Karol G and Bad Bunny and then explore older reggaeton?

Daddy Yankee was the first one. “Gasolina” was the first song that got popular. It’s kind of weird because so many people now know Bad Bunny and Karol G, but they still don’t know much beyond that. They have no idea who these older artists are. So I started liking reggaeton with Daddy Yankee, and now I’m really into Karol G and all the old-school artists I mentioned.

How did you first learn about Make Music Day?

One of my friends has a barbershop in Fullerton, and there was a Make Music Day thing there. He told me to apply and come do it for fun. Some random restaurants around Fullerton were interested—like a taqueria wanted us to come, which was super funny because they thought we were kidding and thought we were playing recorded music. Then there was more of a bar-club that wanted us to go, and we ended up staying until nighttime performing. It was all pretty random and cool.

How was that experience for you? How was it different from a normal gig?

It was cool because there were so many other people doing music. I think people were more open to just come see what was going on. With reggaeton specifically, if you hear the drums, you can hear them from far away, so people get curious. It was funny too because in Fullerton there’s a huge Latino population. It was a little scary because obviously I’m me, and we’re up there doing stuff in Spanish. I think a lot of people first thought we were playing old reggaeton songs, and then they realized it was original music. Obviously I sound super white and my accent isn’t great, so it was funny. I think we were the only ones doing this genre, and people were interested.

What’s next for you in terms of music projects you’re working on?

I’m just trying to do a new song every single month, keeping up with that cadence. It’s a lot of money, and I’m trying to work as much as possible to pay for everything and balance family, student loans, and all that stuff. Another goal for this year is to hopefully do more shows locally and honestly just have fun with people. A big thing too is bringing awareness to the style of music and the culture that comes with it. I want to hopefully go to Colombia and do some stuff down there, but we’ll see. I have no idea. Whatever God wants for us is what’s going to happen.

Finally, what advice would you give to someone who wants to become a musician or an artist?

There’s a lot of fear with it. I think everybody’s afraid of being that person on Instagram or TikTok—someone you went to school with posting singing videos—and you’re afraid of being embarrassing or bad. But if you really want to do it, there are so many resources, so many YouTube videos, and software that can help you build what you want. Just do it, and like anything, you’ll get better every time. As long as you’re humble about it. It’s really scary, and it scares me every single time too. But if even one person likes it, then I’m excited about it.

For the fourth year, Make Music, Make Friends is connecting school children aged 7-13 around the world for Make Music Day, sharing videos of their musical performances with each other.

Teachers from 93 classrooms in Australia, Germany, India, Mexico, South Africa, Turkiye, the US, and the UK are creating a musical greeting video with their kids, sharing it with schools from different countries, and having their students watch these musical messages on the week of Make Music Day.

See the list of participating schools.

One of the best and easiest ways to improve the sound of your guitar is putting on a fresh set of strings.

For Make Music Day, music retailers around the world are hosting free guitar string-changing sessions that come with a free set of acoustic Elixir Strings (for the first 12 registrants at each store). All are welcome at these String Together sessions, from complete newbies who have never changed their strings, to more experienced players looking for a few tips from a pro guitar tech.

Now in its third year, String Together is truly global: participating locations include 55 stores in the United States, 24 in South Korea, 22 in Italy, 12 in Australia, 12 in the U.K., 10 in Germany, 5 in Ukraine, and 4 in Taiwan. (Are you in Indonesia, South Africa, or Poland? We’ve got you covered there, too.)

What’s more, many stores are hosting String Together on June 20, the eve of Make Music Day – so your guitar will be in perfect condition to rock out on June 21.

Many thanks to Elixir Strings!

Visit the String Together page

In this interview, we talk with Ryan and Tristina of Grimiss about their self-described “psych witch rock” sound, blending drum machines, guitar, and dark, expressive vocals. They shared their approach to creating music without fitting into a specific genre, how their songs can shift styles while still sounding cohesive, and why they focus on building a sound that feels entirely their own. They also talked about performing at Make Music Salem, connecting with unexpected audiences in public spaces, and recording their second LP.

I saw you describe your sound as “psych witch rock”. How would you explain your music to someone hearing it for the first time?

Ryan: We’re a two-piece with guitar, drum machine, and a powerhouse female vocalist.

Tristina: Because we don’t have a drummer, all of our sounds are coming out of the drum machine. You get kind of an electronic sound, but with some psych stuff thrown in. I kind of veer into the darker realm with the way I deliver my vocals and some of my lyrical content. We don’t really fit into a specific genre box. We normally tell people we’re an electro-psych witch rock band, which — when you’re told that — you don’t quite know what that is. And that’s exactly how we want it, because we want people to check us out and hear us for themselves and make those judgments. 

How did the band first come together?

Tristina: We were initially in a four-piece, a completely different band. It was very much a bar rock band. We had some ideas that we were throwing around with each other, and we tried to bring them into the mix, but it just didn’t feel quite right. From that point, we decided that we wanted to branch off and do our own side project. The band kind of fizzled out during COVID, and even though it was a horrible time for music, it was the perfect opportunity for us to get together and write a ton of music and get a set ready for when we were able to come back into the live scene. 

Which artists or bands do you think have influenced your sound the most?

Tristina: It’s strange because we both love so many different styles of music. My favorite band is Genesis. I love prog rock, but I also love new wave. I like goth, post-punk. My favorite female vocalist is Whitney Houston. It’s all over the place.

Ryan: I’m a huge Ween fan. I like a lot of modern psych bands too. I like jazz. I like classic rock. It goes all over the place.

Tristina: We fall in line when it comes to our love for Led Zeppelin, Bowie. But none of it directly influences the music. I think we’ve spent so much time doing projects with other people where it was like, “This is the set sound and this is how we want things to be,” that both of us got tired of that and just wanted to do something that was our own. All those people that we’ve respected in the past were creating their own sound. They weren’t trying to sound like anyone else, and that’s part of what makes us admire them so much.

And as a band, do you feel like you finally found your sound, or do you think it’s still evolving?

Ryan: I mean, we just write songs. We don’t really put any thought into that. It’s just whatever idea we come up with next is what our next song is going to be.

Tristina: We were talking about this just the other night. We were here in our motel room, and we were talking about how we have songs that are so different from each other, but they all sound like Grimiss. They’re all cohesive. It sounds like us doing whatever it is we’re doing.

Have you guys ever thought of adding more members to the band? Or are you happy as a two-piece?

Ryan: We’ve both been in and out of bands for two decades, and we’re done dealing with other people. It’s all the hassles of trying to be in a band — trying to get a group of people together in the same room regularly, having to work everything out to be able to book shows. It’s just so much easier as a two-piece.

Tristina: I’ve never had this level of success in writing before, where he can just come at me with an idea and I write something to it. He’s like, “Yeah, that’s great. Let’s roll with it,” or vice versa. I can come up with a melody and throw it his way, and he can write something to it. And I’m like, “Oh, that’s exactly what I wanted.” Versus every situation I’ve been in in the past — it’s the back and forth, which works out great for some people. But we both, I guess, take a lot of pride in what we do, and we put forth a lot of work into our ideas. To have someone poop on them isn’t the greatest feeling.

So on to a few Make Music Day questions. How did you first hear about Make Music Day? Was last year your first Make Music Day event at Make Music Salem?

Tristina: No, actually with our old band we played in 2019. And then we’ve played as Grimiss every year since 2022. So we’ve been doing it for a bit. We live in Salem, and they make a legit event. They have hundreds of bands playing all over town. Although Salem has a struggling music scene, it doesn’t seem like it when June 21st comes. It is one day when everyone in town comes out and supports the local arts. It is a beautiful and amazing thing, and we’ve loved being a part of it.

How is a Make Music Day performance different from a normal gig?

Tristina: One thing that we’ve encountered on tour is that you have people you’re trying to convince to like you. As the touring band, you’re sandwiched in between, and they get to stand there and judge what you’re doing. It takes a lot to turn someone on to you. With Make Music Day, I feel like there’s such a different attitude. Everyone is so willing and ready to accept what’s going on — they just want to be a part of it. It’s such a great feeling. It charges you up, because they’re there and they want to be there for you, even though they don’t know who you are.

Ryan: I think Make Music Day brings out a lot of people that don’t normally go out and support local music. It’s more of a citywide event, kind of like a festival, and it’s free. So it draws a lot of people who wouldn’t normally make the effort to go out and see live music.

How is playing in open public spaces different for you than playing at a closed bar or someplace where people know they’re going to watch music?

Tristina: I love it. I love it because people are just walking by and stopping, and you’re getting these immense crowds around you. The very first year that we played as Grimiss, we had people several blocks away hear my voice and follow it to where we were playing. It’s a cool experience, because it’s this gathering of people who are so ready and willing to be part of the experience with you. I love a good stage, don’t get me wrong. But both experiences are very enjoyable.

So what’s next for Grimiss? Any new music, tours, or projects coming up?

Ryan: We’re in the process of recording our second LP. I don’t know if we’re touring again this year or not. We haven’t decided.

Tristina: It all depends on when we’re able to get the album done, because we’ve done our share of touring without new music, and I really want to be able to push something. So depending on when this album gets finished, I do want to have a tour along with it. I just don’t know where. We’ve done the West Coast and the Southwest. I’d really like to work our way over to the East Coast, but we have to save up a lot of money for that — or find people willing to donate to our cause.

So finally, last question. What advice would you give to someone who wants to start a band or make music?

Ryan: Make sure you enjoy the music you’re making. It can be easy to fall into a situation where the people are there, so you go along with it. But if you’re not enjoying it, it’s probably not going to last. You have to love what you’re doing.

Tristina: And don’t get discouraged. It’s really easy to fall into a slump and get into a weird headspace when things aren’t going the way you want them to. But there are good gigs, there are bad gigs, and there’s always an up following a down. So don’t let that down keep you down.

In this interview, we talk with Gemanereida, a Portland-based singer and performer dedicated to preserving and sharing mariachi music. She shares how she began singing at a young age, inspired by her family and early performances in her community, and how her cultural roots continue to shape her artistic path. Gema also reflects on her experience performing for Make Music Day, the importance of bringing traditional music to new audiences, and what’s ahead—including her role in an upcoming mariachi opera and her goal of becoming a mariachi educator.

Let’s get started. Was last year your first time participating in Make Music Day?

Yes, by myself it was, but I believe it was 2021 when I participated with my family. We had a group—you could say it was Latin music. So I participated then, but yes, by myself, last year was my first time.

I saw you’re a singer and performer. When did you first start singing?

Ever since I was little, but publicly at the age of eight. I started singing mariachi with a ballet folklórico group in Salem called Casa de la Cultura Tlanese. They gave me the opportunity to perform at an event called La Fiesta Mexicana in Woodburn, Oregon. That was the first time I sang mariachi, and ever since then, I haven’t stopped.

You perform music connected to Mexican culture and traditional styles. What inspired you to sing this kind of music?

My grandpa is a musician, so he always had his guitar with him, and music runs in my family—especially on my maternal side. I would see my grandpa singing traditional mariachi songs at every party we had, and that really inspired me. Also, my mom works at a radio station, so I was constantly listening to all types of music. But I was always more drawn to mariachi.

What artists or musicians have influenced you the most in the music you make?

That’s a tough one, because there are so many. I think my top artist would be Juan Gabriel. There’s also Rosy Arango. She’s amazing and based in Mexico City, and she’s really strong in mariachi. Mariachi is a genre that’s traditionally been male-dominated, but I think that’s changing, and now I see more women in it. And I’d also say Linda Ronstadt is another big inspiration. There are so many more, but I couldn’t name them all.

How did you first hear about Make Music Day?

Through my mom, actually. Since she works at a radio station, she knows everything that’s going on in the city. She’s always encouraged me to be involved in the community, so for me it wasn’t even a question. It was like, yeah, let’s share music. Music is such a beautiful thing—why not share this gift with the community, especially in Salem, where I was raised? It was really beautiful. 

What was your Make Music Day performance like?

I performed at two locations. My mom actually signed me up for both. One was at a Mexican restaurant, which was super cool because there were a lot of Anglos there, so it was something a little different for them. Before me, there was a different genre, and then I came in with mariachi music. I was super nervous, but they loved it. I clearly remember this couple who had already finished their meal and were waiting for their check. They were about to leave, but then they stayed. It turns out the man had been a mariachi singer earlier in his life, and he started singing along. I invited him up, and even though he was shy, he ended up harmonizing with me. The second location was at the Gerry Frank Amphitheater. It started raining, so there weren’t a lot of people, but the ones who were there were very supportive. Salem is always a really supportive community, especially in the arts. The band before me happened to be people I knew, and they invited me to sing a song with them, which was really fun. When it was my turn, I tried to explain each piece—what it meant, who the composer was, and so on—and people were really engaged. I think it’s so beautiful how music is a universal language. I always look forward to Make Music Day now.

So what’s next for you? Any new music or performances you’re excited about?

I study music at Portland State University. I’m currently studying music education with an emphasis in voice, and my plan is to one day teach mariachi. Obviously, at our university we don’t have that career path yet, but it’s in the works, so I’m crossing my fingers. I still have about two more years to go. I do have a performance coming up this summer, in July. I was invited to be part of a mariachi opera here in Portland—actually, I think it’s the first mariachi opera that was premiered in Texas. It’s called Cruzar la Cara de la Luna, and it’s being put on by Opera in the Park Portland. A lot of people come to this event—like thousands, from what I’ve heard—because it’s free and it’s in the park. I got one of the roles, and I’m super excited. That’s my biggest project right now, something I’m really working toward and looking forward to. I actually had to choose between going to China with my choir or doing this, and I decided to go with this opportunity because it’s important to represent. It’s not something that comes around often. Other than that, I do gigs on the side—quinceañeras, bodas, weddings—and, of course, school. 

So finally, one last question: What advice would you give to someone who wants to become a musician or a singer?

 I would definitely say don’t listen to people who don’t believe in the arts and try to push you toward something else. Especially as a Latina, I feel like there’s that stereotype that you have to study something like STEM. As someone who is studying music and really supports the arts, I think you should always follow your heart, as cliché as it sounds. Sing with your heart. If you’re doing what you love, you should never give up on that dream. Make Music Day also gives that space—you get to see your community and people who love and support music. So I would say follow your heart and your dreams, but more than anything, do what you do with passion. If you have that fire, you’ll be fine, and you will succeed. Music will always win. It heals people’s hearts, and it can heal the world. So if you really want to do this, do it with passion and love.

Make Music Pittsburgh began in 2015, when mayor Bill Peduto announced his support for street performing without a permit, and local residents seized the moment to come outside on Make Music Day!

Twelve years on, Make Music Pittsburgh has grown citywide, under the leadership of Brighton Music Center. This year’s program features a jam at Veterans Hospital with over 40 ukulele players, performances by Pittsburgh Festival Opera and the Calliope Folk Music Society at Schenley Plaza, a Fathers’ Day Music Party in Shaler Township, and much more all over town.

Visit the Make Music Pittsburgh website

Do you make music with your colleagues at work? You are in good company.

Around the world, organizers of this year’s Make Music Day are featuring performances by corporate bands and choirs, shining a light on the musical creativity hidden behind a cubicle near you.

Whether your band plays professionally, or just started last week, we invite you to join Workplace Harmony!

• Bands and choirs in any genre are welcome
• There is no fee to register or participate
• Performances may be on June 21 or during the preceding workweek
• Performances may be at your workplace or a public Make Music venue
• At least 75% of your bandmembers must work at the same company

Register by May 15th and we will mail you a banner and help promote your event. Afterwards, send us a video from your performance, and a panel of music industry judges will provide feedback and award prizes from our sponsors.

Register here!

In this interview, we talk with David Francisco, a Fullerton, California–based singer, songwriter, and producer who blends indie pop, alternative, and singer-songwriter influences. David shares how discovering guitar in high school sparked his love for music, how his personal journey shaped his songwriting, and how producing his own recordings helped him find his sound. He also reflects on the community spirit of Make Music Day, his approach to consistent songwriting, and what’s ahead as he prepares to release his upcoming album White Knuckle Thoughts.

I’ve been listening to your music this morning. It’s amazing. When did you first start getting into music?

Probably high school. I listened to a bunch of John Mayer, and I just fell in love with guitar. I did classical piano in middle school, but John Mayer in high school and the guitar were when I really first started loving music. Then I just kept playing in college. I was in a band and also studied electrical engineering. I would play in the evenings with the band, and we recorded a whole album. That’s when I fell in love with recording music.

So I’ve read a lot about your story online. It’s very inspiring. How has your journey shaped the way you write and perform your music today?

Yeah, I’ve definitely written a lot of songs about the injury, my whole book and album Lionheart. It’s definitely been a big part of my story. But these days, I try to get away from it. I don’t just live in the crash. I’ve also found a lot of other beautiful things in life to write about and talk about, but it’s still a big part of my story.

And other than John Mayer, what artists today would you say shape your sound, or that you take inspiration from?

I would say Jon Bellion is a big one. Still John Mayer a bit. Ryan Beatty is actually a big influence. Lizzy McAlpine, Phoebe Bridgers—indie songwriters, I would say—and then some pop and alternative. I was just listening to James Blake, and that felt super cool. Bon Iver too. Those are some of my go-to’s.

So how did you first hear about Make Music Day?

I don’t remember exactly. I think I saw little signs around our city, Fullerton, and I was like, “What is Make Music Day?” Then I did it and played at like four venues, and it was so fun. It’s great how it brings the community together. You get to hear other local acts. When the whole city has music going on everywhere, it’s like we get to be Nashville for a day—just a ton of live music.

And how is the experience different from a normal gig for you?

It feels more communal. It’s low stakes because it’s not paid, but it’s really beautiful how we get to share with our friends and neighbors. So yeah, it has that localized feel.

And what’s next for you? Any new music projects?

I’ve got a whole album coming. I’ve been releasing a single every month, and it’s been really fun. I feel like I’m finally getting into a sweet spot with my sound, voice, and lyrics. I’m really excited to be putting out an album called White Knuckle Thoughts later this fall.

And are you going to be including the songs you’ve been releasing these past months?

Some of them. Probably not all of them, but definitely a couple.

I find it amazing how you’re able to release one song every month. I think that’s very difficult for some artists. Do you produce it all yourself?

It is tough. I’ve got the drums here, the guitars, the piano—I can pretty much make any sound. I’m primarily a producer, actually. I’d say I’m an artist second to my production, as well as a motivational speaker now. I’ve been fortunate enough to learn production, and I’m getting to the point where I’m proud of how I can make something sound. So it’s a good place to be.

Have you also had the experience of writing for other artists?

I have, and it’s fun. Writing sessions are great in LA. But I’d also say that even if you don’t have other people around, writing alone is still a great challenge and exercise. Just write things, put them out, and keep moving because you need to build momentum. I heard a podcast yesterday with Charlie Puth, and he said being in the music industry is like getting to print free lottery tickets every day just by writing songs. You never know which one will be the winning song. So why wouldn’t you print those tickets every day? Being consistent is huge. Showing up every day and taking the pressure off makes it much more sustainable.

Last question: What advice would you give to someone who wants to become a musician or an artist?

I did a songwriting challenge last year—30 songs in 30 days. It was honestly pretty game-changing for me. Basically, you have to let go of perfectionism. The goal isn’t to write a great song; the goal is just to upload something every day. A group of us were doing it together, and that consistency was amazing. It felt like going to the gym every day, but for songwriting. Since then, I’ve written about 69 or 70 songs, and I’m going for 100 by probably May. What’s cool is that you gain perspective and learn so much about yourself when you write that many songs. You start noticing patterns and understanding how you write. It really opened my eyes. I used to not love writing songs, and now I actually do.

In this interview, we talk with Adryelle, a California-based artist who describes herself as a “synth-pop fairy stuck in an 80s mall.” She shares how her love for retro electronic sounds and whimsical aesthetics shaped her music, how she began writing songs from poetry, and the artists that influenced her sound. She also reflects on her Make Music Day performances in Fullerton, discusses her self-produced single Bloom, and offers advice on building a sustainable path as an independent artist.

I love how you describe yourself as a synth-pop fairy stuck in an 80s mall. Where did that idea and aesthetic come from?

I really like retro. I’ve always been drawn to the ’80s sound and electronic music. I’ve always been drawn to older things, but I’ve also been drawn to more whimsical ideas. So I’ve kind of merged the two.

When did you first start making music?

I’ve been playing music since I was three. I grew up on a lot of Christian CCM, but I started to branch out more into grunge and goth sounds in high school. I had this random thought one day: what if I write a song? Or how can I write a song? I started writing poetry in high school, and then I thought, why not put the poetry to music and see if I can do that? It turned out awful, but I wasn’t going to give up. I just kept doing it because it was more of a cathartic thing for me. It felt like therapy. I liked the outlet it gave me for my emotions and feelings at the time. I was also in a band with my brother and a couple of friends, and we would always play music and hang out in the garage, all soloing guitars at the same time. That’s kind of how things started.

What artists or bands do you think have influenced your sound the most?

There have been a lot of different ones. The Cure, Depeche Mode, Kate Bush, Björk, a lot of older ’80s artists. Tears for Fears. And then more modern stuff too. I would say Nirvana has always been an influence, but not stylistically, if that makes sense. That’s more what I was listening to when I started writing music — a lot of grunge. And then Bob Dylan as well.

So on to a few Make Music Day questions. How did you first hear about Make Music Day?

I had someone reach out to me who was booking for the day in California, and they invited me to play. I had never heard about it before. It was really cool — it was the one in Fullerton. They shut everything down and opened up all the venues. That was two years ago, and then they booked me again last year. I had some friends who were also playing at the same time at the same venue. And yeah, I think Make Music Day is a really cool concept because you get to meet a lot of other artists, and it brings a lot of people out to appreciate music.

And how is it different from a normal gig?

It feels like a collective thing, like a community event, rather than just one gig at one place. It’s all over the city, and I think that’s really cool because it reaches the whole community.

Did you perform inside a restaurant or bar, or was it an outdoor space?

The first one was a pizza/bar space. I remember it was a really hot day, so it was nice and cool inside the venue. The second one was outside on a patio. That was really cool because somebody actually messaged me on Instagram from one of the apartments around the building. They were like, “I’m listening to music right now. I live in one of the apartments.” And I was like, what? That’s so crazy. They weren’t even in the venue — they were somewhere else listening. Also, it was near the train, so there were people hanging out who were also curious.

You recently released Bloom, which was written, produced, and mixed by you. I think it’s very hard for someone to do all that themselves. Can you tell us a bit about that project and what it means to you?

It’s more about blooming into a different person than you were before. You’re not the same person you were in the past — you’re changing and growing, morphing like a flower. I wanted to go for more of a minimalist electronic vibe for that song. I was just playing around with sounds on my computer, and I liked this one — it fit perfectly. Flowers are delicate, and I think transition is delicate as well. When you’re transitioning from one thing to another, it’s never fun because you’re in that in-between moment. But once you get there, you realize you’re already there and you can rest in who you are now. Like a flower transitioning from a bud to a bloom, the petals are opening. That’s what the project is about. The sounds I used were also meant to feel delicate.

Finally, what advice would you give to someone who wants to become a musician or an artist?

I would say diversify. Learn as much as you can in as many areas as possible. To be a full-time artist, you need multiple streams of income. Learning to produce is really important because it saves money and gives you control over your sound. Some people don’t like it because recording, mixing, and producing your own music can be daunting. But I’d still suggest learning as much as you can. There are so many different streams of income you can pull from, and all opportunities are good opportunities. You never know what might come from something small. If you’re doing it to express yourself, put out what’s in your heart, and don’t be afraid. Once you put a song out there, it’s no longer just your song — it becomes somebody else’s.

In this interview, we talk with Vivienne Aerts, a New York City–based vocalist, composer, and producer known for blending voice, looping, electronics, and experimental performance. Vivienne shares how she first discovered looping technology and how it became a key part of her live performances. She also reflects on her path from studying psychology and jazz to teaching at Berklee College of Music, where she explores the connection between creativity, mindfulness, and musical freedom. Along the way, she talks about collaborative projects that mix music with edible art, the inspiration behind her large-scale album featuring 100 female musicians, and her unique upcoming project—an album recorded on a sailboat.

I’ve seen you perform using vocals, keys, and looping. How did you start using looping in your music?

I was always singing, and I actually went to the conservatory to study all that. But then in 2009, there was an app for looping on the phone that I saw on TV. And I’m like, wow, that’s great. So I got the iPad and started looping myself on it, and it was very fun. Then I made an a cappella record. My first album was with a band, like a jazz quintet, and the second album was completely vocal. So I needed a way to be able to perform it, and I went more and more into looping. Now we’re years later, and I still really like it and keep experimenting with it.

You teach at Berklee. How does teaching music influence your own work as an artist? 

I grew up playing piano and singing, and then I studied psychology and went to the conservatory for choir conducting and singing. At the same time, I did my bachelor’s and master’s in clinical psychology. In the daytime, I was a psychologist in the Netherlands, and in the evenings I had five choirs. On the weekends, I would perform with my band. Then I went to Boston to study more at Berklee in 2012. I decided to write more original works, and I started performing more. After I graduated, I was hired at Berklee right away to work at this institute, which focuses on mental health while performing. By now, I teach my own classes, which focus on experimental performance but also mindfulness. If you really feel free with your music, it has a lot to do not just with technique and your ears, but with you as a person as well. I teach all the different instruments how to just be free within their music. Obviously that influences me. It’s all related to how I work as an artist, because I have two main projects. One is me as a singer-songwriter, which is more jazzy. The other project is with desserts, with my husband, who is a pastry chef. We collaborate on projects that involve edible artwork and sound. 

So how would you describe your music to someone hearing it for the first time?

People have described it as angelic. The last album I produced was all original songs that I wrote. I hired a hundred female musicians. It’s all my compositions arranged with different groups of people performing on them. One song became a Cuban big band bolero, another became more like an experimental string quartet, and there’s one song with a choir. In between, there are sounds from 1,500 women in Congo. We worked with this chocolate brand that’s good for people, good for nature, and good for quality—Original Beans. One of their projects is a female cacao collective in Virunga National Park in Congo, and I was able to get some sounds from them and integrate that into the album. So that album is really like a collage of different flavors. Generally, all my songs are hopeful, I would say. I hope people can listen to them and feel a little bit better about themselves and about the world. The new album has just been recorded, and it will come out in June. It was recorded on a sailboat. The album is going to be called Current. My husband and I lived on the boat for two weeks while recording. We love to work together, and by now we collaborate on all these different projects. So yes, we were on this boat for two weeks and recorded the environment—the water, underwater, and above the water, birds—and used a lot of synthesizers, electronics, and loop stations. I recorded my voice in layers. This album sounds a little more electronic than the previous one. So I would say maybe it has a bit of a Norah Jones meets James Blake vibe.

Did you learn to produce yourself, or did you have to go to school for that?

Well, nowadays you can learn a lot online. But in my case, I grew up going to the conservatory, and there wasn’t so much computer-based music when I learned my craft. At Berklee, I was mainly focused on singing very complex avant-garde jazz because I was in the Global Jazz Program. But after graduating, I felt I needed to write more. I started getting more into the production side—like, let me just make my own things and then tweak them. Especially with the women and chocolate album, all of that was done remotely because there were 100 women from 40 countries sending in their parts. Over the years, I also took several courses at Berklee—more geeky classes like mixing and mastering and digital signal processing. I also took classes on sound design and modular synthesis.

Was last year your first time participating in Make Music Day? How did you find out about it?

I think I connected through one of these Facebook groups. I saw it in my timeline and it caught my attention. I had also seen a couple of friends perform in it in previous years. Normally I tour in Europe in June, but last year we were in New York for a change, so it worked out with the dates. I checked out the website and the different locations there were. 

How was your Make Music Day performance?

I had the most wonderful experience. In the morning, I performed at the Naval Cemetery Landscape Memorial Park, which was such a beautiful space. They had this little platform that looked out onto a sea of grass, which was super nice. Then, in the afternoon, I was at Prospect Heights Community Farm. People were so nice, and it was a collage of different artists, too, so I got to see a little bit of what they were doing. I was performing with the loop station in that community garden, and at one point the birds started echoing one of my voices. It was really cool to engage with the community like that.

So what’s next for you? Any new music or shows coming up?

The boat album is coming out this summer, and there will be concerts on boats as well. For obvious reasons, that’s what we need to do. We’ll do some boat concerts in America, where the audience can come onto the boat, either docked or floating somewhere. Then we’ll also do some in Europe at the end of August. 

Finally, what advice would you give to someone who wants to become a musician or artist?

Just don’t give up. Trust yourself and find your audience—find the people who like what you do. Don’t focus on going viral. Find yourself a little niche, and that bubble will grow because those people will stick with you and support you in different ways. And don’t let anybody tell you what to do. Just be a good person.