Benson Boone had a few appearances on the Hot 100, hitting No. 100 with “Ghost Town” in November 2021 and peaking at No. 82 with “In the Stars” in May 2022. But nothing compared to the latter of the song, “Beautiful Things,” which charted at No. 15 in its first week. The track garnered 15.7 million on-demand streams in the U.S. in the week ending Jan. 25, according to Luminate, and debuted of at No. 5 on the Streaming Songs chart.
This instant success for the song has been a long time coming. Boone signed with Warner Records Dan ReynoldsNight Street Records in October 2021 and has emerged more than two years later as a heavy hitter, having spent that time in writing rooms honing his craft and growing as an artist. This is the exact type of story that many have said is in the past in the current record business.
Now, he's become just the latest in Warner's recent string of success stories, which have coalesced in the early part of this year as Zach Bryan, Teddy Swims, Kenya Grace and Boone take spots in the top half of the Hot 100. Meanwhile, A another Warner artist, Brandy Clark, is one of the top nominees at this weekend's Grammy Awards with six nominations. This success with Boone, Clark and other artists such as Billy Strings (three Grammy Awards), Rufus du Sol, Nessa Barrett and others earns Warner Records executive A&R agent. Jeff Sosnow its title Advertising sign's Executive of the Week.
Here, Sosnow talks about the rapid rise of Boone's latest hit, the track record and artist success Clark enjoys, and the evolution of artist development in the modern record business at a time when many deride major labels as chasing virality and the single unicorn strikes. “Right now,” says Sosnow, “the artist development part at Warner Records is not bulls—.”
This week, Benson Boone's “Beautiful Things” debuted at No. 5 on the Streaming Songs chart and No. 15 on the Hot 100. What key decisions did you make to make that happen?
It starts with the music. I had worked with producer Evan Blair for the past few years with another artist of mine, Nessa Barrett. I had a feeling that Evan and Benson would hit it off and work well together. “Beautiful Things” was the first song compiled. After that, it was really a collaborative effort between our viral and marketing teams supporting Benson and his manager. Jeff Burnsincredible social campaign and teasing pace. But definitely, it comes back to music that resonates in such a way with powerful visuals that make for a magical moment.
Boone signed to Warner along with Dan Reynolds' Night Street Records in October 2021. What work have you done to help him develop as an artist over the last few years?
Dan and his brother, Mack, had signed Benson and John Chen at Warner Chappell turned me on to Benson who at the time had a song, “Ghost Town”. Together with a co-editor Coulter Reynolds We've put Benson in with a core group of writers and producers after some trial and error. He found his footing and confidence as a writer and artist. His level of consistency in his writing is reflected in his two-year arc of continuous flow. And it's not just one or two big songs. But then you realize that Benson is a world-class artist, and you see thousands of kids singing every word to every song—not just the older ones—and you know the hard work and patience has paid off. Some used to call this artist development.
This is his third Hot 100 entry, but first in the top half of the chart. What is it about this song that made it resonate so much — and so quickly?
A great vocal can never be underestimated. I think Benson's passion is ending. There is an urgent and a universal verse. But then again, his clever visuals on social media platforms and effective music video helped highlight the visceral feel of the song.
Brandy Clark is nominated for six Grammys this year, part of a dozen nominations earned by your signed artists. What made her year so special and how did she evolve and grow as a songwriter and artist?
Brandy is the most prolific songwriter I have ever worked with. It was an honor to work with Lenny Waronker on Brandy's last few records. It always amazes us because we literally go through over 100 to 150 demos to get to what's on the album. Brandy's openness to collaboration is a key component of her success. It was an amazing moment when I was able to achieve it Michael Pollack with Brandy for just one day. They came out with “Dear Insecurity” which is simply one of the strongest songs of this year or any year. Throw in Brandi Carlile for production and songwriting, and you come out with a timeless record. As great as the album itself is, “Dear Insecurity” has always been the highlight for me.
How has the rise of different technologies and social applications changed the way A&R works?
A lot of A&R people rely heavily on data and it's such an incredible tool. We've always had various iterations of data — tracking ticket sales by market, radio spins, etc. But other constants that seem to prevail in the A&R process are a great song and a great voice. So technology hasn't really affected one's instinct and mental ability to talk to artists and producers and make decisions about whether to pull the trigger on a signing or whether a song is working or not.
A lot of people bemoan the state of artist development these days, but many of the artists you've signed have grown up and developed extensive careers. How about the perception that record companies don't invest in artist development like they used to?
I don't think the labels as a whole have really, really been beacons of artist development in the last five years. I can say that what Aaron [Bay-Schuck] and Someone [Corson] that they had done in their time at Warner Records is entrusting me with acts like Billy Strings, Rufus Du Sol, Benson, Nessa and Michael Marcagi. Everyone has a different arc and story, but the common thread is patience and faith in the artists and the A&R person's ability to have real, honest conversations that will push them while also protecting and supporting them for the long haul. And right now, the artist development part at Warner Records is no bulls—.
