Tashkent, Uzbekistan (UzDaily.com) — Today we are joined by Brandon Stone, a talented singer, composer, and two-time Grammy Award winner in Indonesia. Throughout his creative career, Brandon has written over 800 pieces, spanning a wide range of genres and styles. In this interview, he shares his thoughts on the modern music industry, as well as how new technologies influence the process of music creation and interaction with audiences.

Brandon, tell us about yourself. How did you start your musical journey? How has your path, from early years in Tbilisi to working in Germany and on the international stage, shaped your musical vision?

I’ve been on stage since childhood. At the age of four, I had a piano teacher who helped develop my musical taste. By the time I was five and a half, I was selected to join a children’s vocal-instrumental ensemble called Saplings, which at the time was one of the most successful projects in the country. Out of three thousand audition participants, only 13 of us were chosen, and that was the beginning of my career.

Additionally, from a very young age, I started playing drums, singing, and learning to play the guitar. These skills later allowed me to perform on large stages, such as with Edita Piekha, and to participate in international music festivals, like in Liverpool, where our ensemble won the Grand Prix.

When we moved to Germany, I discovered the world of jazz and enrolled in a jazz conservatory in Berlin. By the age of eleven, I started composing and arranging music, and by fourteen, I was already selling my arrangements to performers in Georgia.

My musical taste was shaped by a variety of styles, ranging from jazz to pop music. I grew up on the works of Michael Jackson, George Michael, and Stevie Wonder, which inspired me to create music without boundaries. Today, I enjoy creating in all genres — from Latin music to jazz, from ballads to dance tracks. For me, music is not just a style but endless inspiration, and I am proud to be able to experiment freely in different directions.

Your career covers many genres and languages. How do you choose the style and language for each new composition? Do you have a specific creative process?

I’ve always positioned myself as a musician, not just a singer. This opens up broad horizons and allows for experimentation. When inspiration strikes, I often think, "Why not try something in Latin or dance style?" My choice of style and language for a composition often depends on my mood, which can be influenced, for instance, by the time of year. In the summer, I feel like writing fast, upbeat melodies that lift the mood and create a festive atmosphere. During these moments, I seek joyful and dynamic rhythms. In winter, when the landscape is covered in snow, I often feel the urge to write more melancholic, dramatic songs that reflect the cold season’s ambiance.

The sun plays a key role in my creative process — I absolutely need it for inspiration. As soon as it appears, my mood lifts, and I feel the urge to create something energetic. When it’s cloudy, I’m more inclined to write ballads and lyrical compositions. In this context, my creative process is not just about making music but about reflecting my inner state and the surrounding world.

You’ve gained widespread recognition for participating in competitions like "New Wave" and Eurovision. How have these events influenced your career and musical preferences?

Without a doubt, New Wave played a huge role in my career. After Georgia, I lived in Germany for a long time, where I wrote many songs in English and German, but very few in Russian. It was this competition that gave me the opportunity to write music for the audience of the post-Soviet space, which I deeply love, instead of adapting to German tastes. I’m glad that now I have a dedicated audience that appreciates my songs in various styles. They understand that I can create jazz, soul, or modern dance music, and they enjoy it. I’m very grateful to New Wave for bringing me back to my roots. Moreover, it was thanks to this competition that I met the great Mikhail Zadornov, who not only introduced me to the world of Russian poetry but also helped me understand how people perceive our music and culture.

Eurovision also left its mark on my career — I wrote songs for Lithuania, Moldova, and Georgia. However, the contest has a specific format for songwriting, and at some point, I distanced myself from it, as it became more focused on the show rather than the depth of the music.

Tell us about the music label "StarStone Music." Which projects and artists have particularly stood out to you? What are your plans for development?

I created the music label "StarStone Music" primarily to release my own songs. Over the years, I’ve written more than 800 tracks, with around 150 already released through my label. Having control over the release process was very important to me.

However, over time, my initiative grew into something bigger. I wanted to help young performers who reached out to me for support and didn’t have the opportunity to release their songs. Previously, I directed them to other labels, but unfortunately, they were often overlooked and returned to me, hoping for assistance. That’s how the idea of opening my own label was born, allowing me not only to release my tracks but also to give a chance to talented newcomers.

We regularly receive a large number of demo submissions from artists and try to listen to every one of them. If we find a real "gem" among them, we immediately decide to release it. For us, talent, a good voice, and a willingness to work are important. In the 21st century, many young artists already know how to write their own songs, and our task is to provide them with a platform and support so they can develop.

In the future, we have big plans for the label’s growth. We want to expand our roster, release more tracks, organize events, and collaborate with other musicians to create new and interesting content. The main goal of "StarStone Music" is to be a platform for talented performers and to create music that resonates in the hearts of listeners.

This year, you visited Uzbekistan. What expectations did you have from this visit, and what are your plans for future collaborations with local artists?

I’ve been to Uzbekistan many times, and just recently I held my first solo concert in Tashkent. I am very happy to have the opportunity to visit frequently because Uzbekistan is truly close to my heart. The audience at the concert was simply amazing, and it was a genuine pleasure to feel the love and connection with the Uzbek people. I was also pleasantly surprised to learn that people here know and sing not only my new songs but also my older ones, which have been around for years.

As for collaborations with local artists, I’m open to proposals. I’d be delighted to work with talented musicians from Uzbekistan if they are interested. Collaboration is a wonderful way to exchange experiences and create something unique. I’m sure we have a lot in common, and we can create exciting music projects together. Overall, I’m optimistic about the future and look forward to fruitful collaborations!

You’ve already worked with many famous musicians. Are there any artists or groups in Uzbekistan with whom you’d be particularly interested in collaborating? Why them?

Yes, there are artists in Uzbekistan with whom I’d be very interested in collaborating. Munisa particularly stood out to me. I met her a couple of years ago, and she made a huge impression on me. Her unique timbre and artistry make her a true star, and I believe that together we could create something special.

I’d like to reconnect with her and consider the possibility of a duet. I’m sure our collaboration could bring interesting musical ideas and a new sound that would captivate the audience. I’m also open to working with other talented artists from Uzbekistan!

How do you feel about changes in the music industry, especially in the context of new technologies and social media? How do these changes affect your creativity and professional activities?

The question of changes in the music industry, especially with the rise of new technologies and social media, really prompts a lot of reflection. On the one hand, I fully support all innovations that can help promote music. In the past, many performers didn’t have a chance to gain the recognition they deserved, but now, thanks to the internet and modern platforms, many have the opportunity to be heard. This is fantastic! But on the other hand, there are serious concerns. Like many of my colleagues, I have invested my life in music. I spent 12 hours a day practicing, studied at a conservatory, and learned music theory and solfeggio. My experience and knowledge have shaped my musical skills over the years. Now, with the rise of artificial intelligence, which can instantly create a song based on a request, one can’t help but wonder how technology might undermine the value of the work of real musicians.

Listeners may not realize whether a song was written by a person or a machine. This creates some discomfort for performers. Although I have the advantage of being able to perform live, I believe that live music performance remains unique and irreplaceable. IT technologies can do a lot, but they can’t replace real emotions and live interaction with the audience.

Moreover, the issue of job replacement is becoming more relevant. Musicians, graphic designers, and many other professionals are at risk of losing their jobs due to automation. This is truly alarming. All these changes require us to adapt and rethink our role in this new reality. It’s important to find a balance between using new opportunities and preserving the value of human creativity.

Your songs are hugely popular in many countries. Which moments from your career do you consider the most significant, and why?

I’m very happy that my songs resonate with audiences in different countries. This is the result of years of hard work, and it’s certainly gratifying to see that the efforts haven’t been in vain. Throughout my career, there have been many significant moments, but I would highlight a few key milestones.

Of course, participating in the "New Wave" festival, which I mentioned earlier, and the "Voice" project, which opened the door to a wider audience for me—I’m very grateful for that experience.

But the most significant moment in my career, strangely enough, was the pandemic. This time was a nightmare for many, but it was during the restrictions that I found the opportunity to focus on music. The pandemic forced me to put aside all external concerns and concentrate on creating new songs. This gave me the chance to write hits like “For Love,” “Love Yourself,” “My Love Is Forever With You,” “Quarantine Latino,” and others that resonated not only with me but also with many listeners.

Although I don’t wish for such situations to repeat, I am still grateful for the songs that were written during that period. They continue to help me professionally and remind me of that difficult but important phase in my life. Each of these moments has shaped me as a performer and helped me become who I am today.