Should Producers Receive More Recognition?
by Kylie Grebinar
If you were to watch a video of a producer in the studio, they would appear like a crazy scientist—only, instead of neon-colored liquids in glass vials, they’re mixing and creating sounds until the perfect reaction happens. Songs are often known solely for the artist who’s singing them, but they wouldn’t exist without the work of a producer.
The production process is an art form in itself. It’s the foundation for the lyrics and melody blending together so perfectly that a song is created. For how crucial producers are to the making of a song, they seem to be known much less regularly than the artists singing the lyrics. Aside from the occasional producer tag at the beginning of a song, like Metro Boomin’s classic “Metro!” or Pharell Williams’ four-beat start, producers have little recognition on a track. Their names aren't on the album cover, and they are listed on the back or at the very bottom of the page online.
Despite these producers being Grammy winners, it seems like people don't know a whole lot about them. Do these producers like being behind the scenes in the song-making process? Or do they wish they received more credit?
Jack Antonoff is known for his work with Lana del Rey, Lorde, and Clairo (just to name a few), mainly within the pop and alternative industry. When asked about putting out music he produced, Antonoff explains that he doesn't “want to rob anyone of their experience of hearing it without context. The second you start talking about work that is coming, you're planting these seeds in people's heads.” Perhaps this is just one reason why producers prefer to remain less known: does knowing who produced an album give listeners a predisposed bias toward the music based on who the producer was?
Despite his eleven Grammy wins, Antonoff is not a household name. Clearly, he has been recognized for his work in some way, but the public has far less knowledge of his involvement in the music industry. Could this be on purpose? Is there a conscious worry that knowing the producer behind a track will give listeners a predisposed idea of what the song or album may sound like?
Pharell Williams is another producer who is known, but not known, despite his thirteen Grammys. Staying in tune with Antonoff, Williams speaks a bit about uncertainty and not knowing what’s ahead of a project. “You just don't know what's on the other side of the song, or the other side of that T-shirt… you just don't know what's on the other side. That uncertainty.” So maybe this is why producers hide behind the artist—could it be fear of what the album’s outcome is? If an album is critiqued heavily, the artist usually receives the bulk of it, which makes sense, as it is their voice. But producers rarely get the backlash. The more this dynamic is looked at, it seems increasingly certain that this “hide behind the front” vibe is common across all producers.
When talking about his signature in every song, Williams says “I think who I am is my spirit. So if you can sense my spirit, that’s something great, but I never really want to use the same stuff over and over again.” This ever-changing identity, or mysteriousness if you will, stays true to what other producers have said. It seems like it is a common theme to enjoy being behind the work and the creation, rather than just be the face.
MetroBoomin, despite being probably the most well-known producer on this list, also seems to have this laid-back, behind-the-scenes type of nonchalant-ness. When asked about his role as a producer, he explains that his “role was just to help facilitate everything.” For a multiple-time Grammy nominee, this seems too humble. Yet again, a big-time producer makes it clear that their role of being behind the music, rather than the face of it, is intentional.
It can be argued that producers want to leave their mark in a way that is more show than tell. Metro Boomin notes that he hopes his legacy is more than any award or profits, which confirms the idea that producers prefer this “move in silence” role.
After learning more about these artists, it seems clear that the lack of public recognition may be intentional. Across genres, producers seem to have one thing in common: they don’t mind being behind the scenes. If anything, they enjoy it. This begs to revise the initial question—maybe producers do get the credit they deserve, and they just prefer secrecy, valuing the creative process enough to welcome the anonymity that comes with it.
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