“Music and melodies see no border and colour, it’s just this spiritual and unexplainable thing that affects and touches people in different ways,” says Riddick-Tynes. “I envision what it feels like when someone is alone in their room, because if you can touch one person, you can touch 20 million – that’s my main thing.”
The musician is now the vice-president of Arista Records’ Artists and Repertoire division, which oversees the artistic development of talent under the Sony-owned label. But long before his recent stint scouting the scene in Beijing, his entry into the industry came by way of Antonio Dixon, the producer behind Grammy-winning albums by Alicia Keys, Jennifer Hudson, Toni Braxton and Kenny “Babyface” Edmonds.
“I had a meeting with Antonio at the studio, and he told me my music sucked,” says Riddick-Tynes. Back then the teenager was avidly pitching his work to record labels, peers and industry titans. “But he gave me pointers – he said, ‘Hey, do this, do that, do that’ – super loving guy, super nurturing guy. A lot of other people just say, ‘Oh, that’s not what I’m looking for’ and never call you back.”
Jazz bassist Linda May Han Oh on using her Chinese name professionally
Jazz bassist Linda May Han Oh on using her Chinese name professionally
Riddick-Tynes took Dixon’s advice to heart and returned six months later to play his updated tunes to the veteran, who then set him up for a meeting with Babyface at Brandon’s Way, the singer-songwriter’s recording studio in Los Angeles in the US.
Babyface – “a man of few words”, according to Riddick-Tynes – offered him a deal. The two began a decade-long mentoring relationship, which led to Riddick-Tynes working with some of the biggest names in music, such as “Un-Break My Heart” singer Braxton.
“She was a gem,” says Riddick-Tynes. “We started these ideas, she took them and developed them into the songs – she’s a great writer herself. She started the skeletons and tracks and made it happen.”
Riddick-Tynes’ work on Braxton and Babyface’s platinum-selling album Love, Marriage & Divorce earned him a Grammy award in 2015. He would continue to collaborate with Braxton on Braxton Family Christmas (2015) and Sex & Cigarettes (2018).
“A lot of legendary people, from my experience, can be easier to work with, because they’ve been around the track a few times – they know their sound, they know who they are, what they want to say and where they want to go.
“With new artists, sometimes there can be a lot of people pulling them in different directions – but on the flip side, if you have a new artist that allows themselves to be a blank canvas, or allows you to have a blank canvas to create on, it can be a good experience,” says Riddick-Tynes, adding that R&B talent Kehlani was one such artist.
“I didn’t wait on Antonio or Babyface to give me an opportunity, I brought the opportunities,” says Riddick-Tynes, who presented the likes of Chris Brown and Grande – who he had met as a college junior – to the seasoned producers. He later co-produced Grande’s critically acclaimed debut album, Yours Truly (2013).
“I have a vision and the ability to lead a room to an end product, as a producer,” he says. “It’s like being a coach or a team captain, you just coach anybody to play into their strengths and put people in position to do what you can’t do. That’s how you win.”
Riddick-Tynes topped his liberal arts degree with a Juris Doctor degree from Loyola Law School in 2022. This pursuit was “a natural thing” to the musician-slash-executive, who says, “It’s all about being able to lead people correctly.”
With his unique skill set, Riddick-Tynes anticipates bringing back old-school artist development to an era ruled by social media, which gives rise to instant, but sometimes short-lived, fame.
He is also a strong believer in karma, or the universal law that one gets back the energy that they give.
“There are times when I have put some artists with friends of mine, who are dope producers or writers, and I may not necessarily want to get anything out of it […] I don’t necessarily need to be the centre of attention on everything,” says Riddick-Tynes.
“A lot of times people shoot themselves in the foot when they try to insert themselves and don’t just spread the love and share their relationships,” he says. “Something that is meant for you will always be there for you.”
“She’s a great writer and her vocals are crazy. She’s so easy to cut in the studio, and she follows directions. She’s a superstar – not much more you could ask from her,” said Riddick-Tynes, adding that he anticipates bringing new sounds to a Chinese audience through the songstress.
I sat next to Riddick-Tynes at Tia Ray’s show in Beijing in December – it was his first time in China. He said he had planned sightseeing trips between studio sessions, with Shanghai and Hong Kong scheduled for the following week.
The next day I spoke with him again at the East Beijing hotel where he was staying. “The music takes on a whole other life and a whole other meaning in a whole other part of the world,” Riddick-Tynes said.
“We don’t see much of this part of the world – obviously because it’s far away, but also because internet access is just different. Being here and hearing it and feeling it and seeing how people can sing the lyrics back is beautiful.”
