the bridge & the awakening [part 4/5] — covers and discovery

Reimagining Pop Through Piano

I really like taking a reimagined pop direction as a way of meeting people where they already are — based on what they’re listening to. They’re not listening to me yet, but if I can show them what I’m doing through artists they already like, they might come over to my side and see how I live creatively.

The Controller instrumental came from that mindset. As a pianist, it was inspired by an idealized, lo-fi piano version of Drake’s “Controlla.” I had already posted a few videos of me jamming on it solo piano.

When we planned the live band recording session in September 2023, this was one of two covers I wanted to do. We ended up not doing the other one, but Controller flowed so naturally that it made sense to keep it. With the time we had, there wasn’t much room to experiment further.

This recording is a one-take live instrumental, exactly as it exists. That spontaneity — playing live with people you’ve built musical history with — is the point.

The Live Band Session

The session featured the same crew you heard on FILMHOP:

• N8MLVL on keys

• Urri Thames on drumkit

• Tahina Fiaferana on guitar

• John Alden Davis on bass

We recorded everything in the same session. For me, it’s about bridging the gap and letting people discover the work organically — maybe it shows up as a suggested YouTube video, a recommended reel, or something on the Explore page.

That’s the reverse-engineered approach: meet people where they are, then guide them into the larger body of work.

Expanding the Catalog Through Live Recordings

I also took time to record selections from the Ivory catalog. That includes:

• 1999 in NYC

• War Wounds

• Misguided, Part Two (unreleased)

The original Misguided is on the first piano album by A2nelito.

These live band recordings are less about strict arrangements and more about jam sessions. The goal is to capture the real joy and spontaneity that comes from playing with people you’ve built musical and personal relationships with over time.

Most of these recordings were one or two takes at most. The chemistry was already there.

I think of it like the Redeem Team — everyone knows their role, everyone was chosen for a reason, and you just go out and execute.

Release Strategy and “Ivory Garden World”

At the time of this recording, I’ve only released the Controlla live recording on YouTube and SoundCloud. A more official rollout will come later, likely alongside the Film Hop live recordings.

The Ivory recordings are already out as part of the Ivory Garden World EP, which connects nicely to a live streaming project I worked on.

Ivory Garden World was a collaboration between my piano music and Dominique’s visual curation from her Garden World catalog, which lives on the Ethereum blockchain — a Web3 / NFT project.

All of these pieces intentionally overlap. I want someone to see Ivory Garden World on Spotify, then recognize it later on social media and think, “Oh, I remember this.”

That’s how you build an ecosystem — not ego-centric, but soul-centric.

Soul-Centric Art and Live Performance Philosophy

I often describe what I make as soul music, because it comes directly from the soul. When you hear these live band recordings, you’re hearing each musician’s authentic expression in real time.

There are no added effects — just plug in and play.

That’s very different from a traditional production environment, where you might do countless takes until everything is “perfect.” Live playing can feel daunting if you’re unprepared, but when the chemistry is there, it feels like pickup basketball — you just play.

Studio Records vs. Live Sessions

There’s a clear distinction between studio records and live sessions.

A studio record is built around a concept. The same group I wrote Film Hop with in Nashville is the group I did these live sessions with. They already understand their role and contribution.

Live sessions are freer. There are fewer sounds layered in, but that stripped-back minimalism makes the music incredibly smooth and easy to listen to.

In the studio, you’re chasing perfection. Live, you’re capturing a feeling — a moment.

That freedom allows imagination to run wild. I always tell the musicians: know your parts, then have fun with them.

Kids Music and Lessons

When it comes to kids music, there’s currently no direct tie-in with the lessons I teach — but that could change.

Both come from the same place: parents.

Kids music is an extension of A2nelito. I have many parent friends who already use my piano music — whether it’s short recordings, hour-long loops, or extended livestreams — to help create calm environments for their children.

One friend, after having her second child, suggested that I create a catalog specifically for children. That made a lot of sense. Parents are actively searching for music to help their kids sleep and feel calm.

Music plays a big role in shaping a child’s environment, and as an accompanist, I know I’m contributing to that in a meaningful way.

This project is still in progress, but it’s organized. Piano demos are tracked. The ideas are there. It’s just a matter of finishing it — and when it’s ready, people will hear about it through the newsletter.

Teaching Music and Paying It Forward

I teach both children and adults, and for me, teaching is about paying it forward.

If I can contribute music that helps children sleep, or pass on piano knowledge to students, I feel like I’m fulfilling my role as a musician.

Watching students grow in real time is powerful. You get to speak life into them and give them confidence.

The other day, one of my students was playing Clocks. I told him to keep going, then showed him a part of the song most people forget. Suddenly, he knew the whole piece.

That kind of moment builds confidence. That’s leadership.

Business, Feedback, and Growth

A lot of this comes from listening to feedback. A parent says, “This would be helpful,” and instead of ignoring it, I explore it.

That’s not just music — that’s business.

It’s about product-market fit, understanding who your audience is, and responding intentionally. That 85/15 balance shows up everywhere: 15% music, 85% infrastructure, communication, and leadership.

Even lessons reflect that. A 30-minute lesson might only include 15 minutes of playing. The rest is posture, technique, gear recommendations, and long-term setup.

I even built a piano recommendation page on my website by budget, so parents don’t have to dig through the internet for answers.

That’s paying it forward.

Musical Awakening

I started piano at age four, but my real awakening came at nine.

That was the moment I realized, this is in me — and I can take it as far as I want.

Before that, I argued with my mom about practicing. We had moved to New Jersey, I didn’t have a teacher, and life was shifting.

But that morning, I sat down at the piano, opened the book, and something clicked. It felt like I cracked the code.

From that moment on, my mom never had to push me again.

That’s where A2 was born.