Mark Feist Talks Trendsetting Music and Producing World-Class Talents
Everything starts with a great song. That’s key to having a successful record, according to veteran producer Mark Feist, who has made it his life’s mission to produce music that speaks to people, as well as find and develop artists that have the potential to take over the world stage.
Known for his incredible body of work with global icons such as Destiny’s Child, Jennifer Lopez, Mary J. Blige, Celine Dion, John Legend, The Spice Girls, Outkast, Brian McKnight, Kelly Rowland, and Regine Velasquez; and a proud nephew of OPM legend Pilita Corrales, the Filipino-Australian label head of HITMAKERS ENTERTAINMENT has flown back to the Philippines, bringing with him a string of exciting musical projects and industry-shaping collaborations.
The Beat Asia caught up with the multi-platinum producer to chat about his latest single with Filipino-American R&B artist Jay R called “Tunay”—what inspired the track and how he decided on its musical direction.
Our conversation also delved into his musical legacy, what continues to fuel his passion for creating, and how he remains driven to push boundaries in sound and storytelling. He spoke candidly about the main goal of his label: to create relevant, impactful music that resonates with today’s audience while championing the next generation of great artists.
One of their success stories includes Australian pop artist Tash, who is gearing up for her US tour next year. Having signed on with zero fanbase, Mark and his team were able to help her build a formidable catalog, and is now amassing millions of streams and selling out show tickets like pancakes.
In line with this, we also touched on the label’s recent partnership with Symphonic Distribution, a leading music technology and services company for independent labels, managers, and artists. The collaboration aims to support future initiatives focused on developing both emerging and established talent from Australia and Southeast Asia.
Hi Mark! Can you tell us a bit about what inspired the sound and message behind your latest track, “Tunay”?
Jay R was the leading force in inspiring the sound. Part of my process is I love to get inside the artist’s head as much as I can and understand where they come from—what inspires them and what musically moves them. Because at the end of the day, the artist has to sell it. How can they sell something they don’t love?
We spent a lot of time chatting about eras of music. He’s been around for a long time, which is nice since there’s so much to draw from.
He said he loves the late 90s and early 2000s, which is great, because that’s when I started my career. But at the same time, you have to be careful because it’s a fine line. You don’t want the track to sound dated. But with that era of music, for this generation, is new. The average 19 or 20-year-old doesn’t understand that. I believe music is cyclical. We take from eras, we make adaptations of them with the influence of that.
In terms of message, being Filipino and understanding that this is Jay R’s biggest market, sticking to just what we know—how, culturally, Filipinos are obsessed with love and things that move them emotionally. When the first version of the record was penned, I told the writer of the lyrics and melody to keep it about love; keep it about a special someone. That’s how it came about.
Speaking of musical eras, “Tunay” truly blends classic R&B with a fresh, local vibe. What made you decide to take this musical direction?
It’s my job as a producer to keep my hand on the pulse. I’m constantly trying to stay on top of what’s working and what’s not. When I sat with Jay R, we took a deep dive into the Filipino artists that are working right now and what’s currently clicking. It doesn’t always translate, but after doing this for as long as I have, I’m pretty good at figuring out how to take those elements and make them work. It was just trying to stay in touch with what’s clicking and finding Jay R’s version of that.
Jay R can sing anything, and it’s going to sound great. He really is special. But like I say, it's not always about the voice. Everything starts with the song. You have a great song, and you put a great artist on it, that’s lightning in a bottle!
Was there a particular moment during the recording process that stood out to you?
When the record was first written that part with the chant (“Pag-ibig ko'y tunay, sa'yo lang iaalay”) was actually written by an American artist who signed to the label. His name is Mönt Lee, a talented kid from Atlanta. When the demo came back, that Tagalog chant really stood out.
When you meet an artist for the first time, there’s a little bit of a learning curve. But with Jay R, in the first fifteen minutes there was just a sense of trust and synergy between the artist and the producer. I thought that was a really magical moment because I knew right there and then that we had something special.
Can you tell us about your label and how artists from this region will benefit from the partnership with Symphonic Distribution?
Artist development is what we really want to be known for. You look at the Top 10 most streamed acts in the world—Bruno Mars is almost 40, The Weeknd, Taylor Swift, Rihanna, Justine Bieber. The only two people that are really under 25 are Billie Eilish and Sabrina Carpenter. The problem is that two out of ten artists are nowhere near the demographic of the consumer.
We owe it to ourselves to find the next Michael Jackson or Pilita Corales. If we don’t do that, we fail as humans. Artist development now is a lot harder than it used to be. It’s expensive. It’s costly to put out great music constantly, and that’s the only way to do it. There’s so much music; how you rise above the clutter is through consistency and persistence.
That has always been our goal, and Symphonic really got that. They understood that there’s a place for that and that was really important.
We have a bit of a calling card with the first artist that we signed seven years ago, Tash. She just sold out a series of tours in Australia and her biggest market is now the US and she’s going to be touring there next year. That’s why they reached out. Everyone has seen what we’ve done with Tash. I think the Symphonic team in the US really had a connection to that vision and a passion for the same goals.
Do you plan to set up an office in Asia? Perhaps in Manila?
Sure, eventually. Right now, it’s very early days. I think we can safely say that the Symphonic team is representing us well. But yes, we’re definitely looking to have a presence here.
Are you focusing on a particular genre like R&B and Pop, or can we expect a broader range?
I think those two genres that you mentioned are the main goals. That’s definitely our areas of expertise. I think Pop and R&B are the way to go.
Awesome! Could you share a teaser on some projects you’re currently working on in those genres?
Jay R’s the first thing, and then we Shanice, who we signed about a year ago and she’s just a powerhouse! She’s like, if Ariana Grande, Mariah Carey, and Kelly Clarkson had a baby, vocally. She’s incredible! She has a record collab with Jay R called “Never Ever” which comes out on Aug. 22, and it’s really spectacular!
Other than that, we’re going to have to find something that we’re passionate about artist-wise; that fits the bill, that has the work ethic, and that we feel like has a special talent that we can globalize. We’re not interested in anything that cannot compete at a global level. It’s got to be special like that.
How exciting! Having worked with some of the biggest names in the music industry, what does it mean to you to return to the Philippines at this point in your career?
It’s always a familiar, warm feeling. There are beautiful memories here. I started my career here, and my family still lives here. I think it’s just exciting to be here at this point in the journey where I hopefully can help and discover other worthy talents that need to be heard.
What would you say is the Philippine music scene’s biggest potential?
It’s basically a Latin country. That’s what separates us. Yes, we are Asia, but we have so much of the Latin influence here. You look at Indonesia, Malaysia, and South Korea, and it’s still very oriental leaning, which is great! But I think on the western side of things, that’s a little harder for our western audience to connect with. Not that it can’t, but you look at K-pop and musically, it’s completely American. It’s westernized.
English is also a very spoken and understood language here. That gives an edge. The Philippines always had an affinity for Western American culture, so there’s an ability to connect and assimilate to it, especially in music. Given all of that, we just have a head start over most of the Asian countries.
What excites you the most about the local music scene?
Filipinos' love for music is what excites me the most. Locally, there’s so much talent. Live music is such a big thing here, which I think is something lacking in other parts of the world. Being good on the live scene is very different to being good in the studio but I think when you’re good as a live musician, it’s going to help you when you make the jump over.
Having done this for many years, what continues to drive your passion?
Music. I just love the music.
There’s something about putting on a great record and the way it makes you feel. It makes you smile, it makes you move, it just does something to you. I’m still as obsessed with it more than ever! I’m obsessed with the process, and compete with myself so hard that every time I produce something new, there’s a newer, better version of my process, which I think is really key.
I love the greats. Michael Jackson is one of my many influences and if you look at his work, “Thriller” and “Off the Wall,” it’s still very relevant today. I want that kind of legacy with the artists we work with.
Has your creative process changed through the years?
A little bit. I think like with anything, as you go on doing it more and more, certain things become easier or become like bodily functions almost. Producing vocals, for example, which is one of the most intricate parts of the process, has gotten a lot easier in terms of being able to pull the best out of an artist. We live in a world where it’s a lot easier to record now. I have the programs and Pro Tools that help me work faster. I think that part of the process has changed and evolved.
Seven years into HITMAKERS, we are a little bit better at figuring out or identifying “X” factors in artists. They’re superheroes in one way, but then in other ways they have their quirks. So we’ve been able to flesh that out and understand how to connect and motivate artists and speak their language faster.
How do you manage to balance staying true to your musical roots while continuously innovating and evolving with the times?
Look, you got to find a balance, right? You can’t let the artist get lost in my process, otherwise every artist I work with is just going to be another clone of the last thing I did. So understanding who they are, what separates them, what makes them special, why people like them is key.
But you also have to help them be the best version of themselves and be open to evolution. That has to happen a little bit organically. Sometimes changing or making these adjustments to a record ends up just being personal preference, and that’s okay. I’m fine with that. I’ll put my foot down when I feel like it’s technically incorrect or it affects the final outcome in terms of it being the best version of itself.
Do you have any advice for producers and musicians who dream of making it on the world stage?
Number one, you only get what you put in. Be obsessed with the journey and be obsessed with your craft. Be aware of what’s around you in terms of product. As a producer, you’re competing with the greats, and it’s a science. Nowadays you're fighting for a spot on a playlist on Spotify or on Apple, and if you can’t create a final product that keeps people on your song, then you’ve failed.
Second, never be afraid of what’s new. I stay relevant a lot of the times because my wife and I are listening to the newest and the latest. Whether you get it at the first listen or not, you have to stay in touch with what’s out there. That’s key.
You also have to understand social media—what’s working? What are people buying into? What are the trends? How are kids discovering music? Why is Taylor Swift generating a billion dollars in touring revenue? And why are 13-year-olds and their 30 or 40-year-old mothers going to her concerts together while still being able to relate to her? You got to understand it.
If you could sum up this new chapter—new music and return to the Philippines—in one word, what would it be?
Trendsetters, because we live in a world of norms now. Everyone wants to conform to the norms but we want to be ninjas and rebels who think outside the box and set the trends.
You can learn more about HITMAKERS ENTERTAINMENT and its artists by visiting their website or following them on Instagram and TikTok. You can also stay updated on Mark Feist’s latest collaborations on his Instagram and X (Formerly Twitter) pages.
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