What drew me to publishing was the creative dimension behind it. Beyond rights and administration, I see publishing as an exercise in anticipation — understanding where music is heading, pairing the right people in the room, and building sessions with clear intent. Every writing session serves a different purpose, whether it’s responding to a sync brief, developing a specific artist, or exploring ideas with hit potential.

I enjoyed the process of curating sessions and thinking ahead about outcomes. Choosing collaborators, defining goals, and creating the right environment requires taste, instinct, and a strong understanding of both creative dynamics and market context. That balance between intuition and structure is what makes publishing particularly stimulating to me.

On the administrative side, I consider publishing knowledge essential to navigating the industry. Understanding rights, ownership, and registrations isn’t just a technical skill — it’s a foundation. I strongly believe that a good publisher is one of the most valuable allies an artist can have, providing long-term protection, leverage, and strategic support throughout a career.

Song pitching became another key part of my publishing experience. It pushed me back into deep listening — staying on top of new releases, understanding evolving sonic landscapes, and tracking shifts in trends and audience taste. That reconnection with active listening sharpened my perspective and reinforced how closely publishing, A&R instinct, and cultural awareness are linked.