Searching for a masterclass in adaptability, vision, and creative hustle? Then look no further than Jamal Jimoh – a management and marketing guru whose career journey across the music industry has spanned a multitude of job titles and organizations. From his early days at Island Def Jam to overseeing music releases at Ncredible Entertainment and ultimately spearheading streaming operations at Venice Music, his path reflects a deep-rooted passion for music and an unwavering commitment to supporting artists. Along the way, Jimoh has played pivotal roles in marketing, A&R, and digital strategy, contributing to major projects with icons like Jay-Z, Wu-Tang Clan, and more. In this candid conversation, he shares career highlights, insights on navigating the ever-evolving streaming landscape, and how staying fearless and curious keeps the "big ass kid" spirit alive in his life and work. 

You’ve had a lengthy career in the music industry up through this point in time, with some of your former workplaces including Rostrum Records, Island Def Jam, and Entertainment One to name a few. Can you briefly walk us through your professional journey, and how you ultimately came to be Head of Hip-Hop and R&B streaming at Venice Music? 

I started in admin services at Universal Music Group. I had internships before that, but this was my first paid gig in the music industry. But this job was like making sure there were mouse traps by the vending machines and people had their IDs and that the inner workings of the building were functioning. After Universal, I joined Island Def Jam as a digital media and marketing consultant, managing newsletters and web content. I then transitioned to A&R research, identifying emerging talent, followed by a role in teen-focused marketing.

Working closely with Nick Cannon through a joint venture led me to become General Manager at his company, Ncredible Entertainment, overseeing music releases, TV production, and brand partnerships. After five years, I took a break from the music industry to do more fulfilling work at a children's hospital before returning to music.

Eventually, I ended up leading urban digital marketing at eOne, worked at Premier Music Group on streaming strategy, and then headed marketing at Rostrum Records. After the pandemic, I consulted from home before joining Hitco, managing streaming for artists like Big Boi, JLo, and SAINt JHN.

Finally, I landed at Venice Music, initially overseeing Hip-Hop and R&B streaming and now managing all streaming operations. That’s the journey.

Venice Music co-founder, Troy Carter, shared in a statement on Venice’s website that being an artist is already hard, and what Venice aims to do is make finding success in the music industry easier for artists. How do you strive to bring this statement to life within your current role?

I aim to demystify streaming. Streaming can be this big, frightening landscape, and it can feel like it doesn’t benefit 98% of artists. Premiere artists are the ones who you constantly see on streaming platforms, and though platforms have grown considerably more thoughtful about who they’re putting forth and highlighting lesser known artists, it’s still a challenging ecosystem to be in. 

My objective is to present artists with opportunities that might not have otherwise been there for independents. My objective with Venice and the ethos behind my work is to put stars in positions where they can shine and give artists some clarity as to how DSPs work. That’s the lifeblood of what I’ve been doing for the past few years. 

What excites you most about working in the music space, especially within hip-hop and R&B?

What excites me is probably what frightens me about it as well. This space has never been more wide open. It feels like art has been democratized for the first time in a long time. We’re seeing talented artists who previously may not have had the opportunity rise to the top. There’s never been a more fruitful time for discovering music. That too is beautiful, and makes me excited.

What’s one thing every artist should prioritize when it comes to the development of their first “real” artist strategy? 

You only have to be true to yourself. Artists are often trying to find their fit or make it to where they leave some sort of indelible mark, which leads to a tendency to rush records or move away from something because it doesn’t immediately work – even if it doesn’t feel true to who they are. There’s a lot of pressure on them, and I feel like artists put themselves in a spot where they’re chasing and unsure of what they’re pursuing. They want this picture of success, and they try to get there by mimicking what’s worked for other artists. I think following what your artistry dictates and letting that be your true north star in terms of the effort you put forth and direction you take is one of the biggest strategy keys there is.

Venice’s focus is on strategy, technology and music. How do you think advancements like AI and data analytics are changing the game for contemporary artists?

AI has brought a complete paradigm shift. Everything from cover art to career guidance is now touched by AI. We have a feature on Venice, which we are very proud of, called Co-Manager, which is essentially your AI manager. You can ask it about streaming strategy, to write a pitch for a record, touring strategy – whatever you want. It’s an extraordinary tool. So, I think AI has leveled the playing field for artists. It’s still great to have a team, but you can use the technology to inform you how to maneuver in lieu of a team, at least in some small way. 

Analytics are also more readily available than ever before. To see where your attention is coming from and having the data to back it up is extraordinary. To be able to go into your Spotify backend and know where certain percentages of your listeners are coming from and relevant demographic splits is tremendous. You have the opportunity to super serve your fans, and go where people are really listening to you. If you’re a small artist and want to book a tour, you now have hard data that shows you where your active fans are, and it’s exceptional. Before, this information and these insights were gated, but now, it’s at your fingertips. 

What’s a common misconception about working in the music industry that you wish more people understood? 

Everybody’s human. Our world is very big on hero worship, and we often view people’s positioning and their success and fail to realize that there’s a human being at the root of it all. People are people. To understand that is to carry yourself and govern yourself with a baseline level of respect and consideration, and that works wonders in every industry. I think the attachment to celebrities is definitely something I wish more people would let go of. 

Have you ever been starstruck by someone you’ve met in the music industry? If so, who?

I don’t think so. There have been people who have been cool to meet though. I sat next to Anita Baker at dinner once which was cool. Meeting Babyface for the first time was a lot of fun. I wouldn’t say that they’re a hero fo mine, but meeting Quincy Jones was incredible. God bless the dead. His music contribution is extraordinary, and there was a moment where I was taken aback, but his demeanor and humanity took that starstruck piece away. He was just cool. 

Throughout your career, you’ve had many opportunities to work on different creative projects and campaigns. Thinking back, are there any that stick out that were particularly memorable?

There are a number of them that stick out for various reasons. Ultimately, it’s all about the music, but they stick out for reasons other than just the music too. Jay-Z is an all-time favorite MC of mine, so to be a small part of ’Kingdom Come’ was a lot of fun. I’m a New York kid, so Wu Tang’s ‘The Saga Continues’ was another project that I was happy to be involved with. RZA called me a scientist in a meeting when we were talking about digital strategy, so that sticks out for me. There are many moments stitched together throughout my career that make for a pretty fun story to look back on. But, these two projects are definitely some of my fondest memories. 

If you had to explain your current job to a kid, how would you do so? 

I put music in places to be found. 

If you had the opportunity to have dinner with any two artists dead or alive, which two would you pick, and where would you go to eat?

I can't say where I would go because that's my place and I don't want it overrun. But, it would absolutely be sushi. I think you learn a lot about a person by how they order sushi or how they embrace the adventure of an omakase experience. And the two people, oh man. Stevie Wonder, for sure. Stevie Wonder and Helen Adu from Sade.

What’s one album that you’d take with you wherever you go? 

Probably ‘Bizarre Ride II the Pharcyde’. There’s stuff by Kendrick, stuff by Jay-Z, stuff by Biggie and Nas and Mariah Carey. But, if there’s one definitive album, it would be that album by the Pharcyde. There are so many memories attached to it. It unlocks a world of storytelling about my past, and continues to evoke so many thoughts. So, that would have to be it. 

What does the phrase “big ass kid” mean to you? 

It’s not being governed by fear or worry. I have the very distinct honor of being a father to this amazing little girl, and she helps me experience the joys of life all over again. Watching her discover, learn, and lead with an often reckless abandon is an absolute joy to experience. She was recently helping me cook, and started dancing and fell backwards. She just bounced back up and kept dancing – and that’s what happens when you live life and move without fear. There’s a resiliency that exists because you don’t know that you’re supposed to be afraid. Whether it be a fear of losing opportunity, fear of losing money, or fear of losing ground, we let fear govern so much of what we do on a day-to-day basis. Being a big ass kid means moving with considerably less fear and with decidedly more joy and excitement.