How Toplining Changed My Career

From Studio Sessions to Remote Toplining: My Evolving Path as a Songwriter

When I first started writing and recording music, it looked quite different from how I work now. Back then, I was crafting songs in a traditional style, saving up to record in the studio with a full band. My first two records were recorded to tape with a jazz band setup—a process that was as rewarding as it was resource-intensive. It took a lot of planning, coordination, and capital to bring each song to life, and I treasured the experience. Capturing live instruments with a band was glorious, but every step required so much groundwork.

Eventually, I found myself drawn to pop music for its “anything goes” style. That sense of freedom was what had attracted me to jazz in the first place—pop was, after all, the popular music of its time, with figures like Cole Porter brilliantly defining it. Transitioning to pop brought fresh challenges, especially the question of how to get the sounds in my head into an audible form without a full band and studio at my disposal.

One day, I stumbled upon a musician on Soundcloud with a nostalgic, nylon-string guitar sound that sparked something in me. I reached out, and together we created “Old School Romance.” This producer, now known as Grynn, helped me bring the song to life in a deeply personal way. After sharing it with A&R, we got crickets in response, so we decided to release it independently. To our surprise, Universal France contacted us about remixing the track, and we wholeheartedly said yes! The song found an audience in Italy and beyond, and it was thrilling to see something I’d written for myself resonate with listeners.

This experience opened my eyes to a whole new way of creating. Now, instead of being held back by the demands of traditional studio recording, I’m able to create freely with talented DJs and producers worldwide. When I topline, a producer usually sends me an instrumental track, asking me to write the lyrics, create a melody, and record the vocal parts. Sometimes they’ll have a reference for the type of melody or phrasing they have in mind, but more often, they trust me to respond with what feels right for the track.

The creative process often starts with an emotional response—whatever images, moods, or stories the instrumental stirs up. Some of my best ideas come while I’m driving. It’s like having my conscious mind focused on the road lets my subconscious roam freely, allowing melodies and lyrics to flow. I record melody ideas and any lyrical sparks that come up in my notes app. If I find lyrics I’d previously jotted down that match the tone, I’ll weave those in too.

Once I have a strong direction, I head into my “studio”—a small walk-in closet where I record my vocals. I’ll record more material than the producer might need so they have the flexibility to “comp,” or piece together, the parts they like best. Before sending anything, I usually give the recording a fresh listen the next morning to see if there’s room for any last touches, like ad libs or harmony layers.

This remote approach has transformed the way I work and lifted many of the creative roadblocks I used to face. I’m grateful for the talented producers who entrust me with their tracks, giving me the freedom to explore and interpret. Even if the producer’s vision doesn’t always align with mine, I appreciate that each track we create is unique to that moment. This way of working has opened up endless opportunities to keep writing, expressing myself, and connecting with listeners around the world.