Decarlos Garrison: A Conversation on Music, Culture, and Innovation
Music Business
From Artist Management to Music Tech: A Conversation with DeCarlos Garrison
Before streaming turned every artist into a data point, there were people behind the scenes helping shape the culture from the business side — connecting brands, artists, marketing, and opportunity in ways most fans never saw. One of those people is DeCarlos Garrison.
Known throughout the music and entertainment industry for his work in artist development, brand partnerships, and strategic marketing, Garrison built his reputation by understanding how to move culture beyond the music itself. From helping create opportunities for artists during the early 2000s era of explosive music marketing to later expanding into media, branding, and conference development, his career has consistently lived at the intersection of business and culture.
Over the years, Garrison has worked across multiple sides of the industry — artist management, promotional strategy, sponsorship alignment, and event development — earning respect for his ability to connect creative vision with real-world execution. Whether helping artists navigate the industry machine or building platforms designed to educate and empower the next generation, his approach has always centered around longevity, relationships, and understanding the bigger picture behind entertainment.
Today, through ventures like Gravity Works and the Culture Capital Conference, DeCarlos Garrison continues pushing conversations around ownership, branding, media strategy, and independent growth in music and culture.
The Early Days With Smilez & Southstar
Take us back to the beginning. How did you first get involved with Smilez & Southstar?
I met Smilez & Southstar through their first manager, Al. At the time, I was helping them secure product placement deals with brands like Ecko and Pro-Keds. That is how I first started working with them — by creating product placement opportunities for videos, performances, and other promotional moments.
What was the energy like around the group before they broke nationally?
At that time, I was not managing Smilez & Southstar yet, but the energy around them was crazy before they broke nationally. You have to remember, they were signed to Trans Continental, which was one of the biggest pop labels around at the time. Al did a great job working the record “Who Wants This.” Shout out to Street Dwellers Promotion.
Did you know early on that they had something special?
I got lucky because Dakari and Trans Continental had already put together a strong project. When I came on board for the second album, the project was already complete and had a few records on it that felt like hits.
What was your actual day-to-day role as manager?
I was the business manager. Think of it like being the general manager. I handled the affairs related to the music business side of things.
What is something people misunderstand about what a manager really does?
People often think the manager is also the booking agent, the marketing guru, and the record label. In the beginning, you may have to carry some of those roles until you build out the team or the artist levels up.
Music Industry and Label Lessons
What were the biggest challenges in breaking an artist during that era?
The biggest challenge was getting everyone on the same page with the same mindset.
How different was artist development back then compared to today’s streaming era?
Artist development gave you the infrastructure to understand how to maneuver through your career. It also showed you what a real team looks like. In today’s streaming era, artists who do not have that example — or do not understand how to build a team — may face more challenges until they figure it out.
What did record labels look for when deciding whether to invest in an artist?
They looked for the music and the buzz around the artist.
What was the biggest lesson you learned working with labels?
Infrastructure. That was the biggest lesson.
Were there moments where business decisions conflicted with the creative vision?
Business and the creative process of making a record can sometimes clash. But at the end of the day, you still have to make good business decisions.
What separates artists who last from artists who become one-hit stories?
Time and consistent good music. Time gives you the opportunity to learn and understand your fan base. A one-hit wonder is always chasing that hit again. They often do not understand their consumer base or core audience because they gained success so quickly and do not have the historical data.
Tech, Platforms, and the Future of the Music Business
How did your transition from music management into tech happen?
I was overseas working with a group, and one of the group members had a relationship with a company called WiMP, which is known today as TIDAL. We were trying to work out a deal, and I thought the platform was dope. We had beta access, and I started to see the writing on the wall. I knew change was coming.
When I got back stateside, during the last three months of the tour, I kept talking with my wife about platforms and how artists needed better access to information. My wife told me, “You should create something yourself online.”
What similarities do you see between the tech world and the music business?
At this point, there is not much difference. Tech companies control the infrastructure. The music business is now made up of content partners and venture capital.
How has technology changed artist discovery and promotion?
Technology gives everyone the opportunity to create.
Do you think AI, algorithms, and platforms help or hurt culture?
They are tools and sources of information. You decide how you use them.
What tech tools should independent artists be paying attention to right now?
Independent artists should pay attention to whatever tools help fill a gap in their process.
