How appropriate. How fitting. Madonna, Cher, RuPaul. All talented artists who require no last name. These individuals have turned the music world upside down with their iconic moments of artistic creativity. For their contributions to the pop genre, and music in general, these individuals remain timeless.
In the competitive, cut-throat environment of the music industry, out LGBT artists are typically cast off to the side, never to be taken seriously as true musicians. While many talented individuals initially set out to be the male versions of pop superstars such as Lady Gaga and Britney Spears, others use years of vocal lessons and producing experience to their advantage.
Besides American Idol’s underrated Adam Lambert and legendary Elton John, identifying the name of a prominent gay artist currently receiving mainstream attention in the US is sadly difficult. Independent San Diego-based hip-hop/pop artist Solomon is working hard to correct the injustice. Since bursting out onto the scene in 2008, the singer-songwriter-producer has encountered multiple sound and image changes, all seeing successful end results as well as developing a loyal following of supporters.
Having already released critically-acclaimed extended plays, including the pop-laced Shades of Blackand The Love Rocker Project, Solomon is readying the release of yet another anticipated EP entitled Le Garçon (that’s “The Boy” for all you English speakers) in January, followed by his long-awaited debut album, Why Boys Cry, set for release in 2014.
With a number of diverse projects under his belt, the artist has grown in every aspect of his music career. Solomon currently manages two other talented artists under his very own record label, experiments with new sounds in the production booth and understands the complex nature of the music industry. “In the beginning I was very naïve, I didn’t see this industry as competitive,” the artist says. “Maybe I have become jaded and see it more now, but I have always carried a mentality where anything is possible.”
Solomon burst onto the scene with an in-your-face style of hip-hop with the release of two mixtapes featuring multiple freestyles. His work even caught the attention of rap icon Eminem who invited the artist onto his Sirius Satellite radio show in the summer of 2008.
Since his debut release, the genre-bending artist has jumped the spectrum in terms of sound and image. His Shades of Black EP showcased a departure from his previous hip-hop efforts in order to focus on music with an upbeat vibe. The pop sound continued with The Love Rocker Project EP where Solomon used AutoTune for the first time and his style continues to change with recent releases “The Way We Were”, an emotional ballad, and the unique “Swim No More”.
“I’m an artist. You can’t place me in a studio and tell me to think inside the box,” Solomon says. “There are so many layers to me. I can’t imagine being the same person, doing the same music every day. I’d die.”
When recording officially began on his third release, Shades of Black, Solomon decided to sing the lyrics of “Fortune Teller”, the first track recorded for the project, instead of rap them. Initially unsatisfied with the end result, the artist reworked the instrumentals and a new sound emerged. Solomon ultimately shifted genres and went from being a rapper, to a singer.
Shades of Black is a somber, personal EP featuring emotional tracks including “Break My Heart” and “Cry Baby” and loaded with painful lyrics detailing a complicated breakup, hidden beneath mid-tempo beats. The release also showcased the artist’s first attempt at writing, producing and arranging.
“Shades of Black was my first attempt at doing pop music. In terms of production and songwriting, I love that EP. Nothing clouded my judgment. There’s this raw element to it, this vulnerability because I didn’t know everything,” he says.
After a move to New York City, Solomon began work on his second EP, The Love Rocker Project. The project was another pop-inspired release which featured the artist using the infamous AutoTune technology for the first time, a decision he came to regret since it made people think he always uses the vocal alternation tool now.
Even though the music video for the effort’s lead single, “Wit Us U Can’t”, received positive reception and vast amounts of media exposure, having premiered on MTV’s LOGO network, Solomon says the extremely polished EP was one which had too many influences and unwanted outside infiltration.
“I second guessed myself a lot with The Love Rocker Project,” Solomon says. “With that EP, I listened to more people and slowly let them infiltrate what songs I wanted to record. When I was recording and writing the EP, I went out a lot, got drunk a lot, I was lonely too. I was surrounded by so many people, friends, and industry professionals and I think that reflects the music.”
“Life Goes On”, the artist’s next single release, came from writing and recording when Solomon was in a dark period of his life. The song is an EDM experiment depicting the struggles of moving on in life following a tough break up with lines such as “he said you got a new guy, is that true, I had a few that loved me right, but there not you.”
Considered to be the artist’s most successful single to date, Solomon created a unique, fashion-influenced music video to accompany the track’s honest lyrics. While the original idea for the visual was to be a creation based around simplicity, the desire to express oneself and a fascination with reincarnation and shedding negativity led to dark, gritty piece with images from within the artist’s psyche.
“I had no idea that was going to be my biggest song. I knew it was special, but had no idea,” Solomon says. “iTunes picked it up and put it on their front pages for almost an entire year.”
Two years later, the artist has started promotion for his full length debut album, Why Boys Cry, scheduled for a release date sometime in 2014. The upcoming effort is described as a hard-hitting, urban release focusing on experimental production and show-stopping vocal performances.
Preceded by the emotional, personal ballad “The Way We Were”, the album’s lead single came to be from the artist allowing his emotions to remain dormant following the end of his relationship with the only person Solomon ever loved. The artist finally let down his walls, expressed his true feelings and allowed honest songwriting to infiltrate his music.
“In a nutshell, the meaning of the album title is how boys are always told you are never supposed to cry, so in turn, we release our sadness or emotion in other ways,” the artist says. “By not calling someone back, punching holes in walls, driving fast and running through red lights, being irresponsible and stupid. Not always, and everyone is different, but you don’t have to shed tears to actually cry.”
Asked why it has taken over five years to release his official debut album, Solomon says that a lot goes into an artist’s formal introduction to the music world. Along with getting the right team to back the project and finding your honest sound, an audience first needs to set up. No one wants a well-crafted album to fall upon deaf ears.
“You can have a second album or a third album. But you only get one shot at a debut album and I want mine to be memorable. I want to touch people. I want my story to be told the right way, with the right instruments and words,” he says.
Before the release of his debut album, Solomon is keeping his patient fans satisfied with the January release of his upcoming third extended play, Le Garçon, which is set to feature songs coming from the point of view of the little tyrant who lives inside the man.
While Solomon is normally a closed off individual, who prefers being alone and reading books instead of going to the clubs, the little boy inside is the complete opposite. Songs on the album, such as the raw, mid-tempo “Let You Go (Part Une)”, discuss topics of heartbreak, sex, anger, depression and violence, a side of the artist he says fans will be shocked to witness.
Describe as a hard listen, a project that does not naturally flow, composed of interludes, poems and personal songs, the EP’s lead single “Swim No More”, a pop/hip hop fusion of a track which incorporates Japanese taiko drums, bird chirps and whale noises into its intriguing production, is a good indication of the effort’s overall sound. With vocals reminiscent of Frank Ocean and Drake, the new single is a tear-jerking yet empowering message of trying to extinguish an old flame that does not seem to die.
“The song was originally about a one night stand, but after freestyling in the booth for six hours it naturally changed,” the artist says. “The bridge part of the song when I am talking on the phone, it’s actually from when my ex kept texting me one night when I was out with my friends. I was so proud to tell him I was moving from New York and going back to California. I was drunk and angry. But mostly, I was hurt and felt defeated.”
Though the artist may have been initially crushed by the end of his relationship, he is now allowing his past experiences help create a sound listeners may not have heard before. It is his music that defines the type of artist he is, not his personal life.
Proud to be a member of the LGBT community, Solomon must admit to regretting the decision of coming out while trying to make a mark for himself in music. Since revealing he is indeed a gay artist, the singer/songwriter believes it is always the first label one sees. He confesses to the fact that many gay artists do not take the art of music seriously, making it difficult for other to gain momentum.
“To be honest, I hate I ever mentioned myself as being gay because then you’re a ‘gay artist’ and a lot of gay artists are horrible. They were just decent looking guys who tried to be a Britney or a Gaga, and made it hard for others to be seen as artistic,” Solomon says. “It doesn’t define my music. My life defines my music and I define my life.”
It is his unwilling to compromise his artistic integrity for chart success or be placed in a stereotypical box which has earned him the respect of so many supporters. With a current Twitter following of over 55,000, Solomon is a dedicated, independent artist who is garnering attention for not being afraid to speak his mind.
His heartfelt connection with his fans does not hurt either. While many artists use social media solely as a point of promotion, disappearing for months at a time until a new single is dropped; Solomon uses the social outlets consistently as an honest way of keeping an open dialogue with those who follow his every move.
“It is super important,” he says. “I said I’m closed off, so talking to my supporters and followers is my way of getting advice. As much advice as I give them, they help me too. They are the sweetest people in the world and their support is beautiful. I’m really blessed to have them.”
On top of preparing for the release of his own upcoming projects, Solomon keeps busy with managing the careers of two other artists under his own SolRay Records label. LastO, a rap/hip hop artist, is promoting his recent Where’s Vivian? album, while pop artist Wilson Knight is working on new material following the release of his debut single “Stable Ground” and its accompanying “supreme” remix.
Solomon is also in the process of preparing for another promo tour set for this summer, currently writing his first novel, and working on two new music videos which should be released in the next month. All in all, he says he is in just a good creative space.
Many artists fail to gain traction in their careers; others have one huge hit and then fizzle out, Solomon is taking his time in making sure his upcoming projects leave a lasting impression on his audience. Whether he is releasing hard-hitting hip-hop efforts such as “Got Me Fooled”, dance floor jams like “Life Goes On”, or new and interesting pieces such as “Swim No More”, Solomon understands a sense of passion must go into every creation.
“Fucking love music. If not, get the fuck out of here,” Solomon says. “This is not a hobby, it’s a lifestyle. If you want to be the next Gaga, go home, we already have her. Be you.”
*Written by yours truly, my longest feature to date appears as the November issue cover story of Dallas-based Evoke Magazine, out next weekend! This is the original copy. An edited version will appear in the publication's pages.
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