Dominican, NYC-born creative executive and record producer Mariel Gomerez-Rodriguez has played a pivotal role as an A&R to some of the most important projects to be released over the course of the last decade. Widely recognized for her ability to uncover talent and synthesize ideas into breathtaking bodies of work, Mariel has grown into one of the most influential, behind-the-scenes players in music – and has the resume to back it up. We recently had the opportunity to catch up with Mariel to discuss how her journey to becoming an A&R unfolded, what it means to fuse her personal identity and her professional career, and how her perspective on artistry has evolved with time. 

How did your professional career within the music industry begin, and what was it that initially drew you towards becoming an A&R?

I always knew music was what I wanted to do. It was my way of communicating. Early in life I wanted to be an audio engineer, but my parents were immigrants and had high expectations, so I chose the route of entertainment law. After taking my LSATs, I quickly realized that Law wasn’t for me. I didn’t love the process, but I was obsessed with learning everything about music - production, business, live, technology etc., I spent a lot of my time studying all the legends that shifted culture - Rick Rubin, Clive Davis, Roc A Fella, Murder Inc, Def Jam., I decided to find a middle ground with my parents and got my masters at NYU in music and technology. Before this I interned at Atlantic, Premier Studios, worked at SOBs, and eventually also interned at Roc Nation.

While interning at Roc Nation I got my first full time offer. I ended up leaving the internship early.  Lanre Gaba offered me my first full-time job, where I worked as her assistant at Atlantic Records. I didn’t realize it then, but she set the bar for me. She gave me the room to continue my education while still assisting her full time. In addition to attending NYU, I also opened up The Penthouse Recording Studios in Times Square around that time (2016/2017) which is still up today. 

It was during this time that I began to shift my focus on how to get closer to the actual making of the music. I quickly realized there wasn’t much I could do creatively inside of a building -so I took a leap of faith. I was only 22, I knew I still had time to figure it out. I pivoted and stuck to school and the studio, and long story short ended up with a finance internship at Parkwood. I then sold the studio, and went from a finance intern to an A&R. 

To be honest, I fell into A&R simply because I fell in love with the process of making albums and really found purpose in it. I think what I love about A&R’ing is how much of an art form it really is. To be able to alchemize alongside an artist is truly a special experience.

Has artist development always been something of interest to you? Or did you initially see yourself playing a different role in music early on?

I don’t know if I knew to call it artist development when I started my career. I just knew I wanted to be closest to the actual creation of making music, and I found a purpose in helping people tell their stories. I think artist development is the fun part of the process and the most rewarding. Seeing people grow is always inspiring.

What are some of the key traits you lookout for when it comes to scouting new artists?

Authenticity and perspective. Also, having a story to tell and being really unapologetic about it. These are traits that draw me to people and spaces in general. That’s what comes first and foremost for me. I probably listen to artists' interviews more than I do their albums. I think there’s such a gift in giving people the ability to see themselves in you.

That’s what I saw in RAYE and other artists I’ve worked with. I remember speaking to people about her and just emphasizing that her music was not even a quarter of who she is, that sitting with her and having a conversation would paint the best picture. I love how she’s incorporated that feeling into her live shows.

Reflecting back, can you describe the feeling you had on your first day at Parkwood?

I had just quit my full-time job, and couldn’t believe that I’d started over. I learned to trust the process a lot during that time.

How does your approach to the creative process differ between new artists versus established artists?

I treat every artist’s experience uniquely. There are obviously different levels of expertise and experience, but ultimately A&Ring is just a different way of producing. I just try to mirror whichever artist I’m working with and focus on growth more than anything else.

Over the course of your career, you’ve A&R’d and executive produced some incredible records, some of which include Chloe x Halle’s Ungodly Hour, Beyoncé’s Renaissance and Cowboy Carter, RAYE’s My 21st Century Blues and Kehlani’s CRASH. What went into the creation of these records, and how have they reshaped your approach to music?

Every artists’ process is unique and also super sacred to them, so I’d never share what goes or went into each, but I think there’s something to be said about the common thread in all these bodies of works and artists. All 5 women stand for something, and each body of work has shifted some sort of perspective: whether it’s breaking boundaries in genres after already shifting culture at a high level or being one of the first black Disney princesses or being one of the very few female producers to exist or using your voice to speak on the inequality in the songwriter community or standing ten toes on your political views & being unapologetic about who you are regardless of anyone’s opinion. They all stand for something; they all have impacted culture.

Each has given me the gift of a different perspective, but the first two mentioned really taught me the art of production.

In 2021, you signed British singer-songwriter, RAYE, to Human Re Sources, where she later went on to become a massive success story as the first independent artist to go #1 on UK charts and record holderer for the most BRITs awards won  in one night. How did your experience working with RAYE reshape your understanding of what independent artists are capable of?

It completely shifted how we look at artistry. When I first heard RAYE’s demo, I had no idea who she was, but her voice was incredible, and her songwriting was that much better. As I began working with her, I quickly learned about her frustration in not being able to fully realize her artistry.

Seeing her not be able to fully express herself made me want to champion her – we stayed close until the right opportunity came along at Human Re Sources. To see her prove everyone wrong further proved why artists should be in control of their art. Being able to champion RAYE, give her equity, give her a say, and give her a platform to share her voice. That’s what this should all be about.

One of the artists you currently work with is Chavi Leons – a bachata artist from NYC. Being both Dominican and a native New Yorker, what does it mean to you to be able to fuse your personal identity into your professional career?

It means everything. Outside of any accolades, being able to give people the ability to see themselves in you and vice versa is everything to me. He's a first-generation Dominican immigrant, and I think a lot of people see themselves in him. It’s special working with him.

Who are some of the artists you’re currently listening to and excited about?

I think the ladies have been killing it in the rap and r&b space but I’m really excited about the male r&b space honestly. I’m excited about Reggie Becton, Josh Levi, and Destin Conrad. I love how unique they are. They each have their own lanes and all stand for something different but real. I’m also excited about the alternative scene. I love what Mamii and Guinevere are doing in that space. I think Mamii is going to be a once in a generation producer/songwriter. There aren’t enough female producers/songwriters, super excited to see her grow.

If you could create a supergroup with any three artists dead or alive, which three artists would you select?

Prince, Pharrell, and Frank Sinatra

What’s one album that you’d bring with you anywhere you go?

God’s Project by Aventura

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

Exactly what I’m doing right now – living my wildest dreams!