Wizzmer
Grammy-Nominated Acoustic Guitarist, Multi-Instrumentalist & Producer

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Suraaj Parab (00:03.192) Today's guest is Wizzmer, a Grammy-nominated artist, creative producer, and music entrepreneur from Venezuela, now based in Miami, whose work bridges performance, artist development, and independent music business. Welcome, Wizzmer, to the Artist Conversation.

Wizzmer (00:22.564) Thank you so much for having me. I'm just happy to be here.

Suraaj Parab (00:23.659) No, it's great to finally see you and talk with you. I have been watching your work for a very long time, and I am a fan of the way you perform on stage and your music. So, thank you so much for coming.

Wizzmer (00:41.528) Wow. Thank you. I know it is not common to see a musician who can handle the business. So I identify myself, I call myself a music businessman, kind of.

Suraaj Parab (01:00.850) Yeah, I totally agree with you. It's a rare combination. It's like two poles: one is art and one is business. So it's a rare combination.

Wizzmer (01:09.796) Yes. Yeah, and I love both.

Suraaj Parab (01:13.780) Yeah. So I'm surely going to learn something from you today about this topic. Let's dive into it. Talking about your origin, Wizzmer, you moved to the US in 2015 from Venezuela with your cuatro. Sorry if I'm pronouncing the name wrongly.

Wizzmer (01:18.660) We learn from each other, that's for sure.

Suraaj Parab (01:40.204) With very little money and a clear instinct to build something meaningful. Looking back, what did that transition teach you about risk, identity, and creative survival?

Wizzmer (01:54.340) Well, I had many motivations. First, Venezuela wasn't a good place anymore to live. So I moved; I ran away from that situation. I was 29 years old. I was already settled in Venezuela. I had a business, and I was doing music in my free time. So moving to the US was a big change of perspective and lifestyle completely. And even though I had those dreams and I knew that I was meant to do good and big things, it was part of the plan from the beginning. I started playing on the streets. So that dream of mine was there. I knew even though I was sometimes sleeping on the floor or the couch of a friend and playing on the streets, I didn't do it as a sacrifice. I was happy doing that because I knew that I was building something important for myself. I don't know if I answered the question, but you took me back to those days when I moved to the US. And I fell in love with this country. I fell in love with the city. Miami is a beautiful city to live in. Nice weather, nice people, beautiful humans around, and they appreciate music, which is very important for a musician. I didn't have to dedicate my life or my time to anything else. I've been doing music since I arrived, so that's amazing.

Suraaj Parab (03:56.130) Wow, it's really amazing. I get it. We can't call it a sacrifice because it's the thing you love doing. You never think of it like, "I'm making a sacrifice for my better future," or something like that. Talking about your journey, when you moved from Venezuela to the US, what have you seen that is different in terms of musical culture or musical education in these two countries?

Wizzmer (04:30.575) Oh my God. The thing is that Venezuela is a very rare situation because they were going through the biggest crisis in the country in the last year. I don't even have a number, but it has been a big crisis for the continent. It is hard to compare because Venezuela back in the days was a great country and a beautiful place, an amazing place for us to learn music. That was the beginning of my music journey. What I see in the US—I wouldn't compare the level of musicianship because it's completely different kind of music and different lifestyles—but the US is a country with a better economy, more stable, so you don't have to worry about certain things that you have to when you're in a country like Venezuela, especially in the Venezuela that I'm describing. When I arrived in the US in 2015, that was a difficult moment for Venezuela. Back in Venezuela, even if I had money, I couldn't find food. You know, so that took a lot of time in my head, and simple things in my lifestyle were very complicated. Then I moved to the US, and I didn't have to think about where to find food because food is there, and you don't have to worry about it. So in that case, the lifestyle more than just the music allowed me to dedicate my life to music. Yes, just focus on making money, of course, but doing what you love. This is a place where you can dream and you can dream big.

Suraaj Parab (06:57.710) That's superb. Your story kind of reminds me of the movie The Pianist, if you have seen it. The hero in the movie, although his country is going through a very bad phase, is dedicating his whole life to creating music. Your story kind of resembles a similar situation. Venezuela was going through a bad time, yet you were focusing on your music, and you eventually found your way out to here, and now you are a Grammy-nominated composer. I can really say one day a biopic on you will be a very good one if someone makes it, and I would love to see it.

Wizzmer (07:51.155) Thank you so much. Yeah, I know there is a beautiful story in there, and definitely I understood from movies like that that music is a savior. Music has saved me so many times and has healed me so many times. Yes, music is a healer and a savior, and being a musician is a privilege. What you see in that movie is completely real. We can navigate the world in a different way because we are musicians.

Suraaj Parab (08:24.865) Exactly. It's where a lot of artists arrive in a new city trying to find opportunities, but you seem to have arrived already thinking about creating ecosystems. When did you realize your path wasn't just about being an artist, but also about being a platform for others?

Wizzmer (08:52.514) Well, it has been natural, very organic. I was realizing that by doing it. I didn't think about it before doing a jam. I was just doing a jam because it was a cool way to connect with other musicians, make friends, and explore different sounds and ways of playing. A jam session is a fun thing to do for a musician. But I'm also a leader, so I was leading that. I was the director of the jam, putting that together, and I know that I'm kind of a magnet for musicians and people. I love seeing amazing musicians gravitate around me, and I always say that one of my talents is putting together amazing musicians more than being a musician myself, because I see what happens around. Just this past Monday, I was on stage with incredible musicians, and for a moment I stopped playing, closed my eyes, and listened to them. I was like, "Wow, this is amazing, it's sounding great." And I realized that I was also putting together a community, pretty much because I was inviting people. Inviting a photographer that just arrived, "Bro, you should come to the jam, take pictures of people, and then send them the pictures as a gift, and then you connect with them and later they're going to book you." And then I saw that happening. A week later, that guy was doing a video for an artist that he met at the jam. It is fantastic how it happens. I understood that, and by understanding that, I took the responsibility of keeping that alive and curating the space, especially the stage, for it to be an intentional thing. Instead of just letting it flow, I said, "Let's be intentional. We're going to bring these people." And then I'm also inviting business people that want to invest in the music industry—A&Rs, managers, or event planners that come to the jam, see these amazingly talented people on stage, and reach out to them. It is a great environment. So the realization of my journey being a journey not just for myself but for others was natural, organic, and it's something that I love so much. Even in my more selfish mode, which is with my band Los Wizards, it's not about me. It's about them. And my job is to make them shine. And we have a great time together.

Suraaj Parab (12:13.402) Yeah. I actually saw your story about your last show. I was seeing multiple clips. First, you were standing behind, then one guy came and was singing. In the last story, you were literally hiding behind so many people on stage. And this was unique because the usual thing we see on stage is going to a Wizzmer show and expecting Wizzmer to stand in the front and perform his songs. But I am seeing this is a Wizzmer show, yet you are standing behind all these people. It really shows how big your heart is and how you think about others. It's really rare.

Wizzmer (13:05.142) Thank you, my friend. Thank you very much. I love that.

Suraaj Parab (13:10.210) Wizzmer, talking about the independent music business part that we mentioned at the start of our conversation. From your perspective, what's the biggest misconception artists still have about what independence actually requires in this music business?

Wizzmer (13:37.202) The misconception... I want to phrase it in a way that is easy to understand because it's a very complicated business. We are trained to think that the only way to make it in the music business is by being signed to a label. I think one of the biggest misconceptions is that to be able to invest in marketing, get your music on a Billboard or Spotify chart, or win a Grammy, you need a label. It's not the truth. I think the most important concept to unlock in our brains is that we have a product. And this is a business. If you understand that as a business, you're going to be able to navigate the music industry in a way that is fair. You're going to be able to see where your money is going, and you're going to be able to keep your rights and ownership of your property instead of giving away everything for a small amount of money that you're going to waste anyway, leaving you in debt and unable to manage your career. I've seen people give up music careers because of the misconception of a record label deal. It is a very complicated business because we all have different motivations. If you want to be on stage, that is a journey that is different from someone who just wants to write songs for artists, or a singer-songwriter who wants to be a recording artist and never perform on stage. That is a different business. To understand the misconceptions people have, you need to go a little backward and ask, "What do you want to do? What's your motivation? What are your expectations in the music business, and what makes you happy?" The ones that I don't name are the people who are just there because they want to be famous or make money. For me, that's not a good motivation. You're not going to go too far because it's weird when your motivation is not the art when you're doing art.

Suraaj Parab (17:28.448) Understood. I would like to ask, when an independent artist starts creating music, they start putting money into music videos and the production of songs, but eventually, the returns are almost nil. There is nothing coming into your pocket. In your journey, how did you manage this part? You are spending, but nothing is coming in. How do you eventually make it profitable in terms of business?

Wizzmer (18:19.997) Live performance is the most profitable side of the business in my experience. I go on stage, I charge an amount of money, I get paid. I do the job, I get paid. That's it. I go back home, and there's no blind spot or uncertainty about royalties. You just say, "Hey, I charge X amount of money to perform at your party. You give me 50% now, and I secure the day for you. On the day of, I show up, do sound check, dress up, deliver the performance we agreed on, and you give me my remaining 50%." It is that easy. So yeah, in that way, I treat it as a business. I cover my expenses, I get my profit, and with that profit, I take care of my bills and I invest. I might say, "Okay, I don't have enough money to record a new song from my gig, but I'm going to put this in savings for the new album." My recommendation for any artist investing in themselves is that it is important to see the return on investment for any investment you make. Understand that you have a business. Are you going to see this money coming back in any way? For example, we recorded an album, submitted it for the Grammys, and promoted the album. We knew that if we got lucky and got a Grammy nomination, we could raise the price of our performance. That's our return on investment. You see? When people say, "Oh, if you win a Grammy, it doesn't mean anything," no, it could matter. It depends on how you use it. Because now you have the spotlight. Being Grammy-nominated is not a small thing, so you have to take advantage of it and use it. But you need a certain type of mentality to take advantage of it. Same with anything—let's say I don't have a Grammy nomination, but I have a viral video. You have to make an investment to take advantage of that. Should I find a PR person to get interviews to talk about this viral video? Or is it better if I reach out by myself to podcasts? You have to find your way to make it profitable. And for me, live performance is the best one.

Suraaj Parab (21:52.888) Wow. Great take on this part. You really have a unique perspective on music. Most artists look mainly at their emotions and soul, but you are being practical while also being emotional and artistic at the same time. That's a rare combination. As someone who creates, produces, and manages his own art, how do you think artists should balance this creative side with the business side without losing the soul of the work?

Wizzmer (22:40.768) In my case, I'm a songwriter, a creative, a producer, and a creative producer. My first Latin Grammy nomination was as a film director for AleMor's documentary and her music videos. And I did it all. I was looking at my phone and found the first things I designed in Canva to show the team my vision. I had the vision first. I think creativity has to be there all the time. Even in business, you have to be creative. How do we do this? I remember one time we needed money to travel to Los Angeles for the Grammys, and it was a tough time. We needed to pay our rent in Miami so we could travel, and we also needed money for the trip. I remembered talking to a client who wanted us to play at his birthday party in Columbus, Ohio, the next year. I called him—he's my friend—and I said, "Hey bro, how's it going? We got the Grammy nomination. Question: Do you still want the band to go to your birthday party?" He said, "Yes, that's going to happen for sure." I said, "Would you like to help us out right now by sending a deposit so we can pay for our expenses for the Grammys trip? We can use it as a security deposit for the performance next year." He said, "Of course, how much do you need?" I wasn't just being a businessman in that position. I was finding a creative way to use my tools, my contacts, and my talents because we did deliver the performance later. We did everything, went to the Grammys, and it was amazing. But it wasn't just a business tactic; it was a creative way of solving a problem. So I just think that creativity has to be there all the time, no matter what.

Suraaj Parab (25:37.996) Wow. Interesting. Working towards going to the Grammys and creatively managing the expenses is very inspiring. Moving ahead to navigating this music industry, you have spoken publicly about navigating the industry as an independent artist alongside AleMor and others. What do you think artists need most right now? Better strategy, better collaboration, or better self-awareness?

Wizzmer (26:22.511) Once again, you have to ask, what do you want? What is your motivation? I'm not here to judge other artists' journeys. In my experience, it is important to understand that we give too much importance to things that are not important—like the media, social media, numbers, and all that. We compare ourselves with others, and that doesn't work. It is sad because I see the music industry selling mirrors painted with gold. They give us all these things that feed our ego—red carpets, flashy spaces, photographers, followers, monthly listeners. And we're paying in cash, but we don't see any return on that investment. I'll give you an example. Imagine I tell you, "Suraaj, I have this idea. We're buying cell phones in Venezuela, and we want to sell them in Miami. We want to pay $1,000 in marketing this week." Suraaj says, "Cool, let's do it." Then I call you on Friday and say, "Suraaj, it went great! We got a million views on the ad, comments, and followers." Suraaj asks, "But how many did we sell?" None.

Suraaj Parab (28:53.934) Yeah, how many actually got sold? I understand. The conversion is more important.

Wizzmer (28:59.751) Right? No sales, but we got a million views. I don't care about the views. How many products did we sell? So that's why I think getting a million views on YouTube is cool, but how many gigs did you get from that? How many festivals have you booked? As independent artists, it's important that we make that switch and understand what is really important and where the return on investment is coming from. If you want to invest in marketing, PR, or a new music video, it has to have an impact and a clear return on investment. The problem as an artist is that we have this full plate called music. We feel fulfilled. Our souls are fed. We say, "I did the concert, I went to the Grammys," and we forget about the other plate: the money and the business side. It's not until you have a business partner or someone who cares about the money more than the art that you start seeing that side. For independent artists, we don't have that big financial muscle, so we have to take care of the little muscle we have. We have to make sure we get that money back so we can invest in the new album and financially protect our dreams.

Suraaj Parab (31:27.790) You are a very rare kind of artist who actually thinks about that different plate—the business plate. Of course, there's nothing wrong with artists who don't see it; it's their way of looking at life or art. But having this side of practicality is very important. What will you do once you run out of money? In the end, basic needs are food and a place to live.

Wizzmer (32:04.573) And I want you to know that all these ideas are motivated by my mom. My dad is a musician, but he wasn't financially smart. He was always broke. My mom and dad got divorced when I was five. My brother was a newborn, and she said, "My children are not going to be musicians. They are going to be professionals, financially stable." When I turned 17 and started playing the cuatro, falling in love with music, I questioned myself. I loved it, but how would I make a living? I wanted to prove to myself that I could make a living out of it. When I was in college and already playing, I told my mom, "I played a gig on Saturday, and it was nice. Mommy, can you send me some money on Monday?" She asked, "But didn't you play? So you're not getting paid? Then what are you doing?" That was a switch for me. My mom was a huge motivation for me to think that way. One last thing about it: I remember in Venezuela, I wanted to create a company that was like a nonprofit to get donations and grants from the government. My mom is a lawyer, so I asked her how to do it. She asked, "Why do you want that type of company?" I said, "To get donations." She said, "You have a poor mentality. That's not the way. Create a company, make money, pay taxes, and be able to help others—not ask for help. You have to be financially stable." I was shocked, but I said, "Okay, I get it now. I'll do that." And I did.

Suraaj Parab (34:49.432) Really? What a wonderful woman your mom is. Regarding your band, Los Wizards. Los Wizards has been described as a band that reflects Miami's cultural blend. And El Jam came out of a desire to create opportunity and connection. What do these projects say about the kind of creative leader you want to be?

Wizzmer (35:37.878) For me, both projects, but especially Los Wizards, are the ultimate level of my creation as a manager and an artist. I'm on stage, I'm behind the songwriting and the arrangements, and I'm in the studio recording and producing. But I'm also taking care of them as a manager, handling the business and the production side. So in Los Wizards, I can showcase my creativity and all my skills more than anywhere else. It makes me so happy. The other day, we were about to go to Nashville for a weekend trip, and I woke up so happy because I was going on a trip with my brothers. It's so fun to be around them and be on stage with them. It is such a beautiful experience. And they come to a jam every time, so it's pretty much like a Los Wizards jam because at the end of the show, they come on stage and play as a treat for the audience. It's definitely the ultimate level of my personal expression. My job in Los Wizards is to make them shine.

Suraaj Parab (37:49.608) Very interesting. I've met many of our Grammy friends over this podcast, and I've seen their journeys, and you have a very unique journey in your music career. Your goal is to get everyone together and give them a chance to perform. When you look ahead—what's next? What do you hope your impact will be the most? The music you make, the artists you help build, or the independent blueprint you leave behind?

Wizzmer (38:59.550) Suraaj, I'm the happiest man I know. I'm a happy human. I'm fulfilled. I could die today. I did whatever I wanted to do and achieved more than I thought. So I'm just dreaming alive and awake. I wake up tomorrow and ask, "What if we create another album?" Of course, I have motivations, but not really expectations. I just go with the flow, create a plan, but I don't have that "what's next" need. I see Los Wizards playing at the Super Bowl halftime show one day, but I understand that is a 15-minute moment, and then it's done. I'm more excited about being alive and enjoying each moment. I always tell the band that we get to do what we love the most for the 45 or 90 minutes we are on stage. The rest of the time, we are just humans making a living, paying the bills, doing groceries, living. But that special thing we love the most lasts for a small portion of our life, so we have to make it worth it. We have to enjoy it as if it's the last one, like a piece of chocolate. I'm excited to play with the band, travel with them, and be with my wife. I'm excited for the coffee I'm going to make for her tomorrow morning. I'm excited for the little things.

Suraaj Parab (42:29.454) Superb. I have an interest in philosophy, and when you go through a lot in your life—like coming from a country with economic struggles to pursue music, building your life, and getting Grammy nominated—it grounds you. You realize that you're alive today, and you might not be tomorrow. It reminds me of Carla Patullo, whom we spoke with. She talked about surviving cancer, writing her album during that time, and eventually winning a Grammy. I sense the same gratitude and down-to-earth nature from you and AleMor. Thank you so much, Wizzmer, for spending this time with us. We really appreciate the perspective you bring as an artist and as someone thinking deeply about how the music business and the community can work together. This conversation is a reminder that independence isn't just about doing it alone; it's about building something real enough to stand on your own terms.

Wizzmer (44:36.529) Yes. When are you coming to Miami?

Suraaj Parab (44:42.350) Everyone is asking! Because of the Grammys, I have so many friends now in Miami. We were learning Spanish from AleMor, and she was asking us how to say things in Hindi. It's wonderful. One of my closest friends actually lives in Miami. Hopefully this year.

Wizzmer (45:13.767) Cool. Let us know. Try to be here on a Monday so you can come to the jam.

Suraaj Parab (45:22.388) So you guys do this jam every Monday? That's great. I just got my US visa last year, so of course, I have to come now. Thank you so much once again, Wizzmer. And to everyone listening, thank you so much for being here with us. Please go to Wizzmer's Instagram profile, check out his work on Apple Music, Spotify, and all major streaming platforms. He is a wonderful performer. If this episode resonated with you, please share it with someone, and we will see you in the next episode of the Artist Conversation.

Wizzmer (46:20.317) Thank you, my friend. Thank you.