Rich Castillo Talks A&R, Artist Development and Building the Next Generation

Rich Castillo is a British music executive and A&R who has spent more than two decades discovering, developing and championing artists.

From his early work developing N-Dubz and later working with Dappy and Tulisa to artists including Tion Wayne, Jess Glynne, Stefflon Don and Chase & Status, Castillo’s career has taken him across artist management, major labels and publishing, with roles at Universal Music Canada, Polydor, Sony/ATV, Atlantic and EMI.

Now, through the A&R Academy with Punch Records, Castillo is turning that experience towards developing the next generation of music executives, while examining how data has changed the business, why instinct and artist development still matter, and what great A&R actually looks like beyond simply finding the next big thing.

Please introduce yourself …
Rich Castillo, Sagittarius, Jamaican mum and Ugandan dad. Born in Nottingham, UK.

Describe your life in one word or a sentence …
Eventful perseverance.

Why are we here?
We are here to leave the world better than we found it.

You’ve been working in music for more than 20 years, but your career actually started in artist management before moving into A&R. What was it about A&R that made you realise that this was where you could flourish?
I think I fell in love with going through the pain barrier with artists that had exceptional talent. Management is all in; your view of the business is broader, and you are the engine that keeps everything moving. In A&R,  it’s more focused on musical identity and helping an artist elevate their music so they can build a meaningful fanbase and clear musical identity. My time in management prepared me for A&R and helped me have the thick skin needed to push through challenging issues. 

N-Dubz were a big part of those early years, from helping develop the group to working with Dappy and Tulisa as solo artists. What did that experience teach you about identifying potential in an artist before everybody else sees it?
That time taught me that a lot of great artists have a “knowing” about them.  Even if the music isn’t quite there, we as A&R’s are there to help artists realise what they kind of already know. We have to be brave and support people/artists that have a presence through their music. 

Your career has taken you through management, major record labels and publishing, with roles at Universal Music Canada, Polydor, Sony/ATV, Atlantic and EMI. How important has experiencing all those different sides of the business been to the way you understand artist development today, and where have you seen the biggest change?
My experience has been my lifeblood. A lot of challenges tend to repeat themselves in different corporate places. I now know how corporations view success and what’s expected from their teams and rosters. I’ve seen the biggest change in A&R and a fundamental misunderstanding of developing long-term artists. We’ve seen A&R’s trying to ride TikTok and data waves, over-digging into people with exceptional talents, viewpoints and stories. 

From N-Dubz and Tion Wayne to Jess Glynne, Stefflon Don and Chase & Status. After all these years, what are you actually listening to or looking for when somebody new comes across your radar?
I’m looking for a point of difference. Something that feels like, with ambition & application, we can have incredible success. 

The way artists break through has changed massively since you started, particularly with streaming and social media. Has that made the job of A&R easier because there’s so much more data available, or harder because numbers can sometimes distract from instinct?
I think it’s harder now if you are at a major label. The finance guys forecast their deals by modelling what’s being signed against similar artists in a genre. They will look at what data the artist has, and unless there’s a compelling data story on socials or DSP’s, it’s really hard to get something signed there.  We are now forced to go back to the start and develop for artists to build careers again. It’s a time of substance, and for things to cut through, there has to be a solid foundation built. 

Tion Wayne and Russ Millions’ Body remix became the first drill track to reach number one on the UK Singles Chart. When you’re working with a record or artist connected to a scene that the mainstream industry doesn’t fully understand, how do you recognise when something has the potential to move beyond that scene without losing its viability and becoming ‘commercial‘?
This was one of the few cases where the data was off the charts from the start, and because of the characters involved, we knew we’d have no issues with the cultural positioning. That was a song where the label and artist were aligned after trying a few other things that didn’t quite catch fire. Tion is a superstar and an incredibly aware marketer. He put Ardee on the song himself. Once the horse had bolted, we chased it and fanned the flames.

You’ve said that “great A&R changes everything”, but A&R is one of those jobs people hear about without necessarily understanding what it involves day to day. What do you think people misunderstand most about the role?
I think great A&R requires a bond with an artist. The A&R is tasked with executing the ambition of the artist and convincing the label to care/prioritise them.  It’s not just being in the studio and pretending to write or produce songs. It’s about driving an artist’s idea with confidence and clarity. Going on the journey with them and adding value where the artist has gaps.

Why was it important for you to create the A&R Academy, and what do you think is currently missing when it comes to developing the next generation of A&R professionals?
I think it’s essential that we go back to encouraging A&R’s to equip themselves with the skills to support new talent. Signing artists is part of A&R, but once the deal is done, they must be able to see the project through. 

Only 12 people have been selected for the eight-week programme, so it’s a very focused group. What were you looking for in those applicants? Is having a good ear enough, or are there other qualities you believe a good A&R needs?
Good ears are not enough. We are looking for great communicators, passionate believers in music genres and super-driven, ambitious people.

The Academy is also about increasing representation within A&R. Do you think enough attention is given to diversity behind the scenes in the music industry, particularly among the people discovering, signing and developing new talent?
I think music is a leveller and diversity is what makes it work. The viewpoint and perspective of other cultures is how we make great art. A&R mustn’t be exclusive to one type of person.

The participants aren’t just learning in a classroom. They’ll be working in studios and industry spaces, meeting professionals and eventually pitching an emerging artist and having the opportunity to A&R a release. How important was it for you that the Academy gave them real-world experience rather than simply teaching them how the industry works?
I think it’s the only way to learn. You have to experience the pressure of doing real A&R to grasp the importance- the good and bad of the whole process.

You’ve spent much of your career discovering and developing other people’s talent. When this first A&R Academy finishes, what would make you feel that you and Punch Records have got it right, and what would you ultimately like to see some of these young A&Rs go on to do?
I’d like the trainees to continue down the path of A&R & development. I’d like this course to light a spark in someone that helps them forge a music career. Even if they don’t end up being an A&R, the insight should allow them to pursue any area of the music business.

GETTING TO KNOW YOU …

If not this, then what? If not music I’d probably be in sport.

What’s made you sad, mad, & glad this week? Sad – Missing Tae Kwon Do training with my sons. Mad – Someone not sticking to their word. Glad – My daughter starting pre-school

What are you watching? The Gentlemen

What are you reading? Winners by Alastair Campbell

The last film you watched? One Battle After Another

The last play you saw? Importance of being earnest.

The last live music event? Ebubé headline showing Paris.

What’s currently on your playlist? James Blake Trying Times

Which podcast are you listening to? Managers Playbook

What’s on your bucket list? Uganda and Korea

Where’s your happy place? Cork, Ireland on the coastline.

Celebrate someone else … I rate Jo Charrington. She’s managed to break global artists multiple times.

Celebrate yourself … I’m very proud of having a bunch of hits across multiple companies with different artists.

What’s next? Want to break both artists and future execs!

Where can we find you? Instagram – RichCastillo1

Where can we watch you at work? My podcast. Lionbear Hotseat!