Jennifer Fierman’s career in the music industry has been driven by a deep love for live music. It has also been shaped by a fascination with the connection between artists and their audiences.
Since joining Disruptor Records in 2015 as Head of A&R and Publishing, Fierman has helped shape the company’s evolution from its EDM beginnings into a powerhouse of creative collaboration, management, and publishing.
“I was always drawn to the experience of live music,” Fierman says. “In college and high school, I loved going to shows and watching the connection between musicians and fans. I didn’t know exactly where I fit into that world yet, but I knew I wanted to be part of it.”
Her first job was at Jive Records, working in publicity. From there, she took on a few different roles before realizing that A&R was where she truly belonged.
Before joining Disruptor, Fierman worked across major labels including Universal, Warner, and Sony Music, gaining a deep understanding of what it takes to develop global artists and build creative partnerships.
She’s been instrumental in guiding artists and songwriters like Evan Blair — who wrote and produced Benson Boone’s latest single Mystical Magical (which peaked at No.4 on Top 40 Radio in the US) and worked on Boone’s global hit Beautiful Things, which reached No.2 on the Billboard Hot 100 and topped the charts in 19 countries.
Fierman also manages songwriter Sarah “Solly” Solovay, known for her work on Teddy Swims’ hit single Bad Dreams (which peaked at No.7 on the UK Singles chart and No.8 on the US Pop Airplay chart), and Are You Even Real? featuring Giveon, which reached No.1 on the Adult R&B Airplay Chart and was co-written with Sean Kennedy.
She has helped develop producer-songwriter Pink Slip (Kyle Buckley), who co-wrote the Katseye viral hit Gnarly, and worked closely with Dove Cameron during her breakout year, including the release of her Top 40 single Boyfriend.
Fierman says that she aims to bridge the gap between artistic authenticity and commercial success — a balance she describes as “connecting human experience with global appeal.”
“It took me a long time to find the right home that allowed me to grow,” she says. “It’s not always just about your talent or instinct; sometimes it’s about the environment you’re in.”
Here, Fierman tells MBW about artist development, the importance of creative trust, the evolving role of women in music, and why finding the right partners has been key to her success.
What led you to join Disruptor Records?
I’d known Adam Alpert (Founder and CEO of Disruptor) for a long time. When The Chainsmokers started taking off, we reconnected. At the time, I was working in publishing, and Adam told me about what he was building at Disruptor, a company that would unite a label, publishing, and management arm under one roof.
What drew me in was that blend of major-label power and independent attention to detail. After years at major companies, I was craving a place that allowed for more personal care and creative freedom, and Disruptor offered exactly that.
What was your biggest challenge in developing the Disruptor Writer/Producer & Selector Songs roster?
Our biggest challenge for the Disruptor Records side was breaking out of our high-profile roots in EDM music. We really wanted to diversify by signing artists who felt cohesive and complementary to one another that could help us build beyond the genre of EDM.
Because we operate across label, publishing, and management, we needed creatives who understood that ecosystem; who saw the value of working as part of a connected creative network.
“We really wanted to diversify by signing artists who felt cohesive and complementary to one another that could help us build beyond the genre of EDM.”
On The Selector Publishing side I focused on identifying A&Rs and writers with like-minded tastes who could understand each other’s creative choices. We identified a few key partnerships early on and built from there.
What makes you think: ‘This person has something special?’ What’s your approach to helping them, and how do you know it’s an artist you should dedicate your time to?
It’s not just about finding people who have a really clear sense of who they are, but also a sense that I can add value to it. We never want to create a person’s entire persona. It really starts with them understanding their ideals, goals, and musical style. When I feel like we can add value, that’s when I know it’s the right fit.
You’ve worked closely with Dove Cameron and Evan Blair. What was that process like?
When we signed Dove Cameron, she was transitioning out of her Disney era and finding her new sound. It took time to align her with the right creatives that really helped build out a sonic landscape. Once she began working with Evan Blair (whom we publish), everything started to click.
Evan had always been a phenomenal writer. I was always his fan, and he had done this EP, Pretty Poison, with a Warner-signed artist named Nessa Barrett, which blew me away.
The world he built for her, so distinct and emotionally rich, was exactly what I’d been searching for with Dove. That collaboration led to Boyfriend, which became her biggest song to date. I love how special that song is, you could tell how unique it is in its perspective and the writing, and even just the way it sounds. It’s Jazz Pop production, in a very cool, unique way.
Sean Kennedy is one of my newest clients, and I can’t remember a time when I wasn’t his biggest fan. His music always spoke to me from afar, and more recently, we found ourselves in a place to work together. He recently collaborated with Solly on Are You Even Real, which came out with Teddy Swims and Giveon [at the] top of the year, and I am really proud of it.
“I love how it feels like a return to my ‘fan self’ when I find creatives whose music speaks to me so passionately.”
I love how it feels like a return to my “fan self” when I find creatives whose music speaks to me so passionately. Having the opportunity to help them figure out how to get that music heard and build the right strategies to take it to the next level has been such a joy of mine.
Speaking about Evan Blair… Benson Boone’s hit ‘Beautiful Things’ is exploding everywhere. How do you balance creative freedom with commercial appeal?
As much as I’d love to take credit for the perfect synergy of those worlds, it really comes down to the artists, the writers, and their teams.
I’ve always been drawn to music that combines authentic emotion with commercial potential, and throughout my career, I’ve worked to facilitate connections with those shared values.
Culturally, we’re in a moment that values vulnerability and rawness. That’s what allows songs like Beautiful Things and Bad Dreams written by Sarah “Solly” Solovay to connect with audiences everywhere. My role is to help make those creative connections possible.
How would you describe the role of A&R in 2025, at a time when music discovery is driven by data, TikTok, and AI?
I think it all depends on how we use it. Every time new technology enters the music industry, we’ve learned that fighting it isn’t always the best answer, especially if it’s going to keep pushing forward, as AI clearly will.
It’s about learning how to integrate it responsibly. AI can be helpful in small ways, like testing vocals or pitching demos, but at a larger scale, it’s still unclear. What’s crucial is that we don’t lose the human element of creation, because that’s what listeners connect with.
Being in a leadership role, what changes have you noticed for women in this field, and what still needs to evolve?
There have definitely been positive strides. More women are running departments and shaping executive teams, which is incredible, and I work with so many that I admire and that I call friends on a daily basis.
If I had to highlight one area where I’ve seen real change, it’s female artist managers — there are so many powerful women managing huge pop artists today, and I can’t remember ever noting this before.
That said, the fact we’re still asking the question means there’s work to do. One area I’d love to see more growth in is female producers. There’s still a real gender gap there.
What’s been the biggest challenge in your career so far?
Aligning the right partners. Adam [Alpert] has always given me the space to trust my instincts and fully realize my ideas, and that’s when I’ve done my best work.
So I encourage people to keep that in mind when faced with adversity. It took me a long time to find the right home that allowed me to grow. It’s not always just about your talent or instinct; sometimes it’s about the environment you’re in.
Who have been your mentors along the way?
I’ve learned from everyone — even the difficult people. Every experience taught me something valuable. I can’t point to one single mentor, but I’ve worked with incredible leaders and creatives who shaped how I think and lead. I’d like to believe I’ve absorbed a little of each of them.
What advice would you give to young executives starting out in music or A&R?
My advice is to trust your instincts and remember that achieving success doesn’t always mean hitting a huge home run out of the park. Wins show up in many ways along the way, whether it’s building a relationship that you carry throughout your career or a peer that you took an early meeting with.
“My advice is to trust your instincts and remember that achieving success doesn’t always mean hitting a huge home run out of the park.”
Early on, it’s easy to get discouraged and jaded when you’re not achieving the “end-all-be-all” version of success we often imagine. But it’s important to remember that everything has purpose. It just might take some time to see it come full circle.
I wouldn’t be here if I hadn’t made strides along the way. I didn’t have any relationships in the music industry prior to joining it. I built every single contact I have. It’s really important to remember how valuable that is when you’re striving toward your goals.
Are there any global movements or sounds you’re most excited about right now?
I love the K-Pop movement. I work with Kyle Buckley (Pink Slip), who was traveling to Korea and collaborating with K-Pop artists long before the crossover exploded. I work with him on Katseye, on the song Gnarly, which is just so out of the box and wild. It was just such a fun experience.
“I’m fascinated by how K-Pop is reintroducing the energy of the millennial pop I grew up with, where it’s all about choreography, big production, and personality.”
I’m fascinated by how K-Pop is reintroducing the energy of the millennial pop I grew up with, where it’s all about choreography, big production, and personality. That’s probably one of the movements I really look out for and enjoy being part of it.
If you could change one thing about the music industry, what would it be?
I think the obvious answer is songwriter compensation. It’s the biggest issue we face. So many brilliant people can’t afford to pursue songwriting full-time, and we’re losing voices we don’t even know about yet. I hope we find a solution soon because the future of great music depends on it.
Virgin Music Group is the global independent music division of Universal Music Group, which brings together UMG’s label and artist service businesses including Virgin and Ingrooves.Music Business Worldwide
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