“The way that people consume music is a lot different nowadays … so we need to change how we release music,” he says. One thing JVKE is sure he won’t be doing, however, is releasing another conventional full-length. Already, he has teamed with MTV on a Push campaign in October, and in December, he’ll be American Airlines’ artist of the month, with his music given prime placement on in-flight entertainment screens. Curtis teases that fans can expect “a scaled-down version” of a JVKE tour early next year before hopefully bringing on partners for a bigger outing later on. In the live space, he and his management team are looking to take a cue from TikTok by architecting “viral elements” for in-person performances. Now, with his debut album behind him, JVKE is already working on new music and linking up with collaborators he won’t name yet but hints are well-known. Though he played piano, drums and guitar as a preteen, it wasn’t until he began using Logic Pro to create his own songs at age 14 that his desire to pursue a career in music took root. JVKE got his start playing music in church growing up, exclusively listening to contemporary Christian artists before later discovering hip-hop on his brother’s iPod. But our job as manager is to always support our artists’ vision, whether or not we agree with it,” says Aton-Horin. “Obviously, long term, we don’t know what’s going to happen. “I’m a little scared that if I were to bring on a big team that I wouldn’t be as tenacious, or if I got a really big check that I would slack off a bit,” he says.Įven so, he notes that his eventual decision to remain unsigned, despite the flashy offers, “was against the counsel of some people.” Curtis and Aton-Horin admit they were less certain. And while many considerations came into play (including a desire to reap a bigger cut of his earnings), his decision to remain indie ultimately came down to accountability. In September, “golden hour” scored JVKE his first hit on the Billboard Hot 100, soon sparking a major-label bidding war with offers in the multimillion-dollar range - all of which the artist rejected. Nicole NodlandĪfter officially signing with Plush’s Curtis and Aton Ben-Horin for management, the artist born Jake Lawson turned in his next song, the unabashedly romantic “golden hour.” Underpinned by a sweeping piano and violin melody over which Lawson sings about a lover with “glitter for skin,” the ballad similarly took off on TikTok - only this time, it raised the stakes to unexpected highs.
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