“Whatever you can do, or dream you can do, begin it. Boldness has genius, power, and magic in it. Begin it now.”
— William Hutchinson Murray, attributed to Goethe
Josie Carr is a Brooklyn, NYC - born producer, performing artist, engineer and adjunct professor (electronic music production) at NYU, Clive Davis. It was in Brooklyn, where she honed her musical and technical skills, while geeking out on technology, producing, writing and performing her hip hop project "Wan'B Like Me" under Josie Carr and with her live electronic, Latin band; Josie Carr La GATA Negra. It was these experiences that helped shape her sound and style and today continue to help her challenge the idea of only using conventional tools for making music. You can find her in her recording studio or performing live with a large array of controllers and softwares mixed with live instruments, as these have been her tools since her early days in Brooklyn and now have become her trademark. When asked about her greatest influences, Josie’s response is always: “Too many to name and enough to keep me humble and always creating.”
She's had the honor to produce dance remix work for Reggae Legend Grammy Winner; Burning Spears for the album; No Destroyer, on singles; No Fool and Jamaica. Her single Wan' B Like Me was featured in HBO film, Life Support starring Queen Latifah and some of her engineering credits include work with Grammy Winner Stuart Matthewman (Sade, Maxwell, Cottonbelly) for his Jazz duo Twin Danger, SZA, Jermaine Dupri, Masters at Work, M.O.P and digital re-mastering of Bob Marley selective works. She has been featured on AllHipHop.com; Lady Beat Makers Vol. 1 as one of the top women in the field and has worked for most major labels; Sony, Universal Records, Interscope, BMG, EMI, Atlantic, to name a few.
Currently, with her new group, Pretty Hybrid; a Tribal Tech, Deep House and Afro House production, she has been performing (Club Output, Webster Hall, Sullivan Room, Bossanova Civic Club) and releasing material under her indie label, PH Records.
March 1st, she released single “Alasgida”. Of the song, she explains, “My life had taken a 180° turn. I was on a very different path than what I thought I would do. I stopped being afraid, safe and hiding behind others to share my art. Plain and simple, I got tired of the bad interpretations and the art being lost in translations. Without, sounding weird, it felt like I experienced an out of body sensation, where I was observing myself and knew that I was not living up to my purpose. I can’t really describe it, but it felt like a rebirth, like the weight of the world was being lifted from my shoulders and I had to tell my story. The truth is—regardless of how I’ve tried to move silently—life has always yelled at me because of it.”
And her latest single "Terra Ignota" was released April 30th. An upbeat, Tribal Tech song, fueled by uncertainty and angst, depicting the sign of the times we are living in. Of the song, she explains, “I hope it uplifts and inspires new dance rituals, like our ancestors had during their tribal ceremonies. See for me music should shake things up, uplift and cause chaos when necessary”.
Life is for living, so why not create while we live it!
July 11th New York, NYC Beggars Group
July 14th Brooklyn, NYC Bossanova Civic Club
July 31st Brooklyn, NYC Bossanova Civic Club
June 23rd Brooklyn, NYC Bossanova Civic Club
June 5th Brooklyn, NYC Bossanova Civic Club
May 17th Brooklyn, NYC Bossanova Civic Club
Now what exactly makes somebody in the music business worth noting? I think ‘s feat defying ability to simultaneously rap, play her own instruments, manage a recording studio and make chart hitting tracks, might be it. Her toxicity is quality control, deadly. Her music mixes club and guitars, sounds and cultures like only a New Yorker could manage.