Today we’d like to introduce you to Lisa Chiodo

Hi Lisa, please kick things off for us with an introduction to yourself and your story.

Lisa Chiodo is a 24 year old Artist from Melbourne Australia currently based in New York City. Vocalist, trumpet player and producer/ audio & mixing engineer, Lisa has created waves with her live vocal and horn performances all around Australia, Europe and America working with artists including Usher, Lalah Hathaway, Chuck Rainey, Son Jobarteh, Snarky Puppy, Q-Tip, Lawrence and Ledisi to name a few.

Working alongside artist/ tour management teams for Luke Hemmings, Chappell Roan, Reneé Rapp and Ed Sheeran during this years Boston Calling Music Festival, Lisa is excited to continue exploring and collaborating throughout her career, committed to her artistry and maintaining a consistent force in the music industry.

Seamlessly integrate her trumpet and flugelhorn skills into her music, Lisa’s instrumental talents serve as an integral part of her sonic palette, adding layers of sophistication to her music. This reciprocal relationship between her vocals and brass instruments reflects her artistic ingenuity, creating a harmonious fusion that captivates audiences.

Lisa is a proficient session musician working with industry professionals such as Marty Walsh (Guitarist for Super Tramp, Dolly Parton, Julio Iglesias & Neil Diamond and established LA producer/ engineer), Enrique Gonzalez Müller (Latin Grammy award winning producer, recording and mixing engineer), Niko Bolas (producer and sound engineer for Neil Young, Warren Zevon) and Grammy nominated Mark Wessel.

After graduating from Berklee College of Music in May ’24 with a double degree in Music Business- Management and Professional Performance with a minor in Recording in Production and specialized programs in Entertainment Law and Contract Negotiations through Harvard Law School, Lisa is well versed in the Music industry as a whole and enjoys being immensely involved in every aspect of the industry.

Would you say it’s been a smooth road, and if not what are some of the biggest challenges you’ve faced along the way?

Being born and raised in Australia and wanting to pursue a career in an industry that is predominantly located in the United States definitely has its benefits and drawbacks.

Growing up, I always knew that music was going to be the biggest part of my life. I was singing as early as I could talk and picked up a trumpet for the first time when I was 9/10 years old and was never able to put it down. Playing in every type of band from big band, stage, jazz and marching band to full orchestras, quartets, trios and solo performances.

Vocally I had a similar experience. I didn’t have a vocal lesson until my last year of high school, and had my first lesson in year 12/ as a senior as required by my vocal course in order to graduate. I found my sound singing in school and community choirs, school productions of City of Angels, Jesus Christ Superstar etc, busking on the streets of Melbourne City, performing original music in bars, clubs and restaurants and recording my own music on garage band before I became hip to Logic and Protools.

When I was fourteen years old, I toured Europe for five weeks performing in a Rock Opera of Macbeth as ‘the lead witch’. This was my first touring experience as a musician and I instantly fell in love with the highs and lows of tour and what it could give me and my soul.

After really discovering how much music was going to mean to me, I knew that I wanted to study it in undergrad and applied at Berklee College of Music. I didn’t apply anywhere else because I knew that Berklee was where I wanted to go. After getting in on scholarship it clicked that I would be living across the planet from my family, friends, from the place where I grew up all for a life that wasn’t guaranteed. The struggle of knowing that I would be leaving everything behind to follow my dreams of being a full time, successful and celebrated musician. This is something that I consistently struggled with and still do every single day.

Alright, so let’s switch gears a bit and talk business. What should we know about your work?

I am an Australian born and raised vocalist, trumpet player, producer, and mixing engineer currently based in New York City. My work spans across live performances, studio recordings, and session musician collaborations, both as a solo artist and alongside other industry professionals. I specialize in blending my vocal talents with my trumpet and flugelhorn performances, creating a dynamic and harmonious fusion that defines my artistic sound. My live performances and session work have taken me across Australia, Europe, and the U.S., collaborating with artists such as Usher, Lalah Hathaway, Snarky Puppy, Lawrence and Ledisi.

One of my proudest achievements is working alongside artist and tour management teams for Luke Hemmings, Reneé Rapp, Chappell Roan, and Ed Sheeran during the Boston Calling Music Festival, further solidifying my experience in the live performance circuit.

I’ve had the privilege of being a part of both large productions and more intimate sessions with renowned producers and engineers, such as Grammy-nominated Mark Wessel, Enrique Gonzalez Müller, and Niko Bolas.

What sets me apart is the way I integrate my vocal harmonies. trumpet and flugelhorn skills into my music, not just as background elements but as key components of my sonic identity. This connection between my vocals and brass creates a layered, sophisticated sound that captivates audiences. My versatility as a session musician and producer also allows me to collaborate effectively with artists and engineers, bringing out the best in each project.

Above all, I’m committed to pushing the boundaries of my craft, whether through live performances, studio recordings, or collaborations with other artists, all while staying grounded in my artistry and continuously evolving as a musician.

How do you think about luck?

The music industry for me is heavily classified under the following phrases. ‘Right place, right time’, ‘It’s who you know, not what you know’ and my two personal favorites, the first given to me by the chair of Berklee’s music Business department Tonya Butler, ‘Closed mouths don’t get fed’. The second given to me by my mentor, musician and producer/engineer Marty Walsh ‘If they don’t want you on the bus, you’re not getting the gig’.

Luck is something I see as a by-product, tool for optimism and fruitfulness for my mind and mental state. It keeps me sane and positive when things aren’t going the way I had planned or hoped that they’d go and gives me an opportunity to have other doors open when some decide to close.

Luck is real, but luck is what you make it. You’re more likely to ‘be lucky’ if you work hard to be in the right places at the right time. You’re more likely to ‘be lucky’ if you consistently connect and communicate with people so that you know about all the opportunities happening around you. You’re more likely to ‘be lucky’ if you ask for what you want and you’re more likely to ‘be lucky’ if you behave in a way and embody the type of person that people want to spend time with and be around.

You don’t have to be the best at what you do. Don’t get me wrong, you have to have to be good, but you have to be professional, kind and a fun to be around. That, to me, is all more important than luck.

Contact Info:

• Instagram: https://www.instagram.com/lisavchiodo/

Image Credits

Ainura Kudaibergen