Genre Fusionist Gitty Talks Letting His Gut Lead The Way [Interview]
Gitty
Multi-Platinum producer Gitty made history last year as the first producer to appear on five Billboard charts simultaneously—an achievement that highlights his versatility across genres, from R&B to country. His current hit “Wild Ones,” a collaboration between Jessie Murph and Jelly Roll, is making waves, with award nominations already rolling in. He also co-wrote Murph’s latest single, “Dirty,” featuring Teddy Swims, marking a significant moment as Gitty helped launch both artists’ careers.
The hitmaker’s influence reaches even further with contributions to Beyoncé’s Cowboy Carter and upcoming projects with Swims, Muni Long, Quavo and Anderson .Paak. Gitty is also a two-time 2024 Grammy nominee, recognized for his work with Victoria Monét in both the Record of the Year and Best R&B Song categories.
In addition to his 2021 Grammy nominations for H.E.R.’s Back of My Mind and “Damage,” Gitty earned a Children & Family Emmy Award for his work on Netflix’s We The People. As he continues to push genre boundaries, Gitty’s influence shows no signs of slowing down.
He recently spoke to MusicRow about his success as well as his relationship with Nashville.
MusicRow: How often do you come to Nashville?
This is my fifth trip this year. I’ve really enjoyed it—it’s been the most I’ve ever visited. Last November was my first trip for a Nashville writing session, and the city has really grown on me. There’s a lot about the songwriting culture here that I love and bring back to Los Angeles.
What brought you here originally?
I came out to work with Jessie. She was on tour and living here at the time, and we needed to finish some records, so I flew out here to wrap things up.
I love Jessie’s music. How did you meet?
I met Jessie when she was 17. We did a song that ended up on her first project called “Where Do You Go?” Even then, I knew she had a crazy tone. We just clicked. During our second session when she was 18, we wrote “Wild Ones.” Every time we work together, we come up with something special. Watching her grow as an artist has been incredible. She’s still so young but so wise, and has an amazing story to tell. And with a voice like that, it’s a producer’s playground.
In an interview, she mentioned her sound being a mix of country, soul, rap and pop. How do you approach working with so many influences?
Honestly, it all comes together naturally. Great artists like Jessie create their own universe, and all of those influences just fit. Sometimes the rap and singing happen in the same verse. It’s not random at all—it all belongs there.
Did you get to be in the studio for Jelly Roll’s verse on “Wild Ones”?
No, we didn’t work in the same room. We got it done over email, but having him on the record was amazing. He really took the song up a notch, and it’s been awesome watching his evolution.
You also contributed to Beyoncé’s Cowboy Carter. What was it like being part of that?
It was an honor. I played a small part, but it’s amazing to be involved in something that could break so much ground and open doors. I’m proud to have been part of it.
With all the country projects you’ve worked on recently, do you see more opportunities in that space now?
Country music has always been part of my DNA, but it wasn’t where I started. I’ve always been inspired by artists like Willie Nelson and George Jones, but when I approach a country project, I bring my own twist. People don’t want me to impersonate someone else—they want me to bring something different.
Who were your biggest influences before you started making music?
The Beatles and Stevie Wonder were my first loves. I grew up in Russia, so I wasn’t exposed to country music early on. Jazz and soul music was really what I came up listening to. Then I really fell in love with folk music. I fell in love with Bob Dylan, Joan Baez, Joni Mitchell, Cat Stevens and James Taylor because I loved the storytelling.
Bob Dylan was my gateway into country music. When I was a teenager, he was performing in New Haven and Willie Nelson was on the bill. I didn’t know anything about Willie Nelson, so I came early to check him out and when I saw him perform, I started crying. From that moment, I was obsessed with country music.
I immersed myself in it. When I started listening to like Hank Williams and western swing, I realized how close western swing was to jazz. We, as Americans, have a common thread through a lot of the music that came from this country.
Tell me about working with Teddy Swims and Victoria Monét—they’re both having such a moment in pop and R&B.
Teddy is another artist I got in with early. I love working with superstars, but there’s nothing like growing with someone and watching them evolve. He trusted me to [help him find his sound], and it’s been amazing to see how it’s all come together.
I’ve been a fan of Victoria for years, even before she was signed. Working on “On My Mama” was incredible, and seeing it do so well has been amazing. She’s an important artist, and I can’t help but to think that that song has been very monumental and has brought her to the world’s attention. It’s such a positive anthem, and it’s been really special to be part of that. My daughter was three when the song came out and she loved it. To have a song that made her feel so positive about her mother and herself—it’s just a force of positivity. To be a part of that reminds me of the purpose of what it is that we do.
You’ve worked across so many genres. How do you manage to do that so seamlessly?
I just follow my gut and focus on what I love. I don’t try to chase trends. If I’m passionate about something, I stick with it until it’s perfect. That’s where the excellence comes from—doing what you truly love.
What’s next for you?
I’m really passionate about developing young artists, writers and producers. I’m starting a global record venture soon, and I’m excited to help shape the future of music.
