“An accomplished blues rock artist reflects on what she loved and hated about the L.A. music scene, why she’s ready to move on, and leaves behind some valuable advice for artists who are just starting to spread their wings in the City of Angels”
Sarah Rogo arrived in Los Angeles over three years ago with a record label behind her, and is leaving a free agent this month after an eye-opening journey that has yielded both obstacles and opportunities, like touring with rock band The Record Company, having her music spun on 88.5 FM The SoCal Sound, and most recently, having her song placed in the opening of new Netflix documentary Norman’s Rare Guitars.
The blues rock slide guitarist has shared the stage with artists Joe Bonamassa, Jimmie Vaughan, Larkin Poe and Jimmie Vivino, has played major festivals throughout the country, and has even been a featured speaker and performer at Ted X.
It’s been an honor to host her several times at Writers ‘Round: Los Angeles over the years, and as I begin to utilize this platform to highlight amazing artists, their wisdom, and their music, I wanted to have an honest discussion with Sarah about her experience in the L.A. music scene, which draws incredible talent from all over the world, making it one of the most eclectic, competitive and inspiring places for musicians to cut their teeth in the craft of singing, songwriting and performing.
Stay for the conversation below, then give her latest album Wilderness a listen on Spotify, Apple Music or wherever else you stream music. Find her on Instagram and YouTube, or visit her website for more.
GREG: Some people have trouble leaving Los Angeles. Have you heard that before? It's like people try so hard to get here, and then they're almost afraid to leave.
SARAH: Yeah, it's so, so true. I feel like I would actually have a hard time leaving if we weren't having, like, a nudge of starting a new business elsewhere. And, yeah, even though the city isn't like 100 percent for me, I feel like I had a hard time deciding to leave.
When did you move to L.A.?
I've been in California for nine years. I started in San Diego because I wanted to be kind of like a big fish in a small pond, and then I got signed to a label, and I was kind of back and forth from San Diego to L.A. for like, maybe about a year. So, I don't exactly know when I settled in the city. I want to say three years ago, maybe three and a half.
How does he LA music scene compared to the San Diego music scene in your experience?
San Diego is definitely, to me, more of like — I won't say it's more of a scene, but there's actual fans there. There's music listeners and people that will show up at every show, and spread the word to their other friends, and they're all different ages. And there's better — I don't want to say better venues — but they're just more accessible and frequented by all different types of people and demographics.
Whereas, L.A., I don't know. Maybe it's just me, like the musician I am, it just feels like you're most of the time playing for other peers or industry people, which can be amazing if you need to make connections and, you know, collaborations and studio sessions and stuff.
I mean, honestly, the caliber is pretty good in San Diego, but L.A. is obviously just like world class of caliber musicians. So, it's more competitive in that way as well.
You got signed to a label, so is that what prompted you to come up to L.A.?
That was really the only reason why I ended up coming to the city.
Was it at their insistency, or is it something you decided as an artist to make that move?
It wasn't a mandatory thing, but it was definitely insisted upon. And I was fine with that, because I was ready to kind of just dive in head first.
And then how was your experience with that label once you got to L.A.?
It was not good. I think at first I had stars in my eyes, until I realized that the label was kind of actually working against me versus for me, in terms of my intentions.
I couldn't release anything or do anything until I exited the contract.
How do you look at labels after that experience, in this day and age, in this music era? Would you pursue another label having that experience?
I’m finally over the hump of being pessimistic about it all. I think more often than not, labels do work against musicians. But that being said, there are some good situations out there, and if you want to make it just to a certain operating level, a label can be really useful depending on what your intention is.
I think it can be a good situation if you find yourself a good situation. But as for me right now with where I'm at, I wouldn't pursue a label, at least for quite a while. And if I did, I would probably try to shop album by album, or maybe even just two albums, like, absolutely tops.
It would be something like more indie and something that would believe in my music enough where I could be a mother and I don't have to be on tour like all year and all that stuff.
You said you're finally kind of over that hump of pessimism. It sounds like you got through a healing process from that bad experience with a label. Can you talk about that?
My experience in the industry prior really knocked me down, internally and externally. It made me kind of so on guard to the point where I didn't believe in it anymore. Like, I didn't even believe in the dream, I didn't believe in even sharing music. I was just at a super low point.
And then I took a break, and I'm just starting to kind of like thaw from that, if you will, and think about music purely as just art again, and not pressure myself into into doing this or that, and not relying it for income for right now.
Yeah, it seems like the stress of making it a business can sometimes really poison the love for the craft, which is why we all started doing it. You have a great song called “Hollywood Nightmare” on your album, Wilderness. What were some kind of the darker elements of of L.A. that inspired that song for you?
Yeah, I think there's an interesting duality to L.A. I think there is a lot of really great things, especially within the close circles at the indie level and just the pure creativity. There's some really amazing circles and groups and cultural infrastructure around that. But at large, I think there's a deception that's preying on people, especially young people.
Not only preying on the artists, but preying on the consumers as well. And kind of feeding with algorithms and campaigns and just kind of force feeding culture — like a negative, unhealthy culture — on people, especially the youth. I think from that breeds certain groups and influencers and such that develop this habit of just doing things for other people's sake or enjoyment, and it kind of breeds a false sense of humanity and self.
And so what is it about L.A. that makes it hard to leave without these other factors inspiring your move?
Honestly, it ties into what I was saying about deception. That's not everybody's case, because I think there's two points to that: I think it is really beautiful here, not only physically, but just the amount of talent is so amazing and fun and inspiring. But I also think that there's this idea that you can't be successful anywhere else, or you can't find talented musicians anywhere else, or your your creativity is going to be stifled if you're not in a city where everyone's pursuing stardom,
Where there's humans, there's going to be music. It depends on the season of life you're in, but sometimes it's actually really, really good to be a big fish in a small pond. It's good for your confidence. It's good to grow your career. I felt that way in San Diego, where I was one of the better performers, and I was getting a lot of great gigs and just working all the time. I was gaining fans and confidence, whereas in L.A. it pushed me.
I was like, “Oh, my God, I'm not as good as everybody. I have to step up my game. So yeah, I think there's a time and a place for being a big fish and a small fish. And the beauty of this modern day of music and the industry is that you can do so much work remote with people from other cities, and you can do that from anywhere.
So, my mentality moving to Florida is doing music remotely, but then also being able to go on tour to states that really love music. I can go to Tennessee and Mississippi and every place that actually fits my music a little bit more, and there's more fans for that type of music. Whereas in Los Angeles, I feel like I wasn't really valued or appreciated a ton, unless if I went on the road up the coast of California into Washington and Canada and all that.
So, I think what really helped decide my move was to say, I can still do music and actually do it quite successfully from another state. I could theoretically be successful and live on a small island. It's just about like your intention and what you want to what you want to do with it.
There's kind of a reputation of L.A. being full of snobs and fame chasers and everything. But in my experience, it’s full of really wonderful, down-to-earth people, too. What's your view on the stereotypical perception of people who live in L.A. versus your experience of people you've met?
Oh yeah, totally. I think it’s kind of like where you place yourself. Yes, physically, but more of like spiritually and emotionally. Where you're placing yourself will reflect into the types of people that you hang out with. And then that's where it grows from there. It can start with one or two really genuine, aligned connections, and those people have friends, and those people have friends, and you begin to grow these webs and networks of people that are really aligned with your values.
And I think the perception of the fakeness in Hollywood is extremely, extremely real, but I think the same thing is in any city. In any location, there's going to be any stereotype, and I think it's a really good invitation for anybody to dive in and not judge a place or a person or a group by its cover. Stay true to who you are, your values, your love, your personality, and when you don't waver in that, you're gonna find your people.
I think there’s a lot of good advice within what you just said, but I'm going to ask you, anyway: What is some advice you give to a younger artist who's kind of starry eyed, who's coming to L.A. trying to make something?
It sounds so cheesy, but stay true to who you are, and that means in like every respect. And that doesn't mean don’t explore or try things out, but don't create from a space of wanting to fit in, or to have this person or label notice you, or be a part of this group. Just be you and you'll find your creatives and your people here.
I can't tell you how many people are, I don't want to say flaky in L.A., I would say more busy. We're all just kind of trying to survive, but really foster the friendships you have, and don't foster what they can do for you, but foster their hearts and their souls. You might not always get that in return, but just keep fostering people on their hearts and truly care for them, because that will get you so much further in the long run. And not that caring for people is to get you further, but that's just for your happiness,
Second is, don't let the stars in your eyes blind you. If someone is interested in working with you or signing you, that means more people are also interested. So, if someone's offering you a contract or a deal, wait on it, because if you think that's your only shot, you're going to get roped into something bad.
Always screen and vet the people, not just through them, but other people. Like, who do they know? Figure out what their reputation is, and not saying to judge, but do your due diligence of who they are as people.
It seems like you found a closer connection to God and your faith and religion while in Los Angeles. How does that relationship with your faith impact your artistry? Do you think it's beneficial for art?
Point blank, I think it's beneficial for art because you're kind of connected to something outside of yourself and beyond yourself. And I think for me, even more so, it really helps with just surviving out here in L.A., because when you are tapped into God, you don't have as much to prove to man. You're striving for the kingdom of God, and you're not overly overly eager to jump into things that don't serve you and your true purpose.
Honestly, it's what got me through some of the hardest times in my life. And I think what may caused an epiphany in me is just being a part of such a really wonderful, healthy church. I'm friends with so many amazing people that love me for who I am, not for the connections I have or because I'm a musician or what I can do. Like, they genuinely love me, and that really changed my whole heart, because I think growing up a musician and pursuing that my whole life, I placed my value on how well I was doing. And it's just not realistic to be on the up and up all the time.
So, to have people that truly have a heart for you as a human was so life changing for me. And obviously, there are people that aren’t tapped into spirituality that are wonderful people. But I think, just as like a whole, a magnitude of a community surrounding me and lifting me up and always reminding me, like, what's important and who's important, I think it's just it's changed my life. It's honestly caused me to be able to stay here and remain healthy and sane.
In what ways have you grown as an artist because of your experience in the L.A. music scene?
I think the main reason why I've grown is just the caliber of musicians around me and the tenacity of the artists around me. I mean, the people here really are just doing the utmost incredible things. I feel like the people here are really just like, tapped into something else, like they're just so talented. And I'm sure that exists other places, but I feel like here there’s just a whole universe of talent, and that's just pushed me to be better, but also just inspired me to think in new ways, and especially culturally. I love how there's just so many cultures and races and styles of music and different outlooks. Everything like that really has pushed me as an artist.
HAUS Music presents at The Village Studios in Santa Monica, CA
And what were some of your favorite venues, showcases, or experiences you had playing in the Los Angeles music scene over the last three and a half years?
If I'm answering honestly, I don't really love the live music scene.
Well, yeah, please answer honestly.
I don't really love it. I just don't. Maybe it's just how it doesn't mesh with me.
I will say, I do enjoy songwriter nights at The Hotel Cafe. I really enjoy Open Folk there. I think that's a brilliant night. But Hotel Cafe is just not very accessible. A lot of us don't live in the area, parking is like $20, it's really late all the time. So, I just think it's a really cool venue, but it's just hard for people to get to all the time. And I think that's L.A. in general, but I do admire that small venue.
Not to self plug, but the shows that our production studio, HAUS Music, has put on at The Village Studios have been my favorites. And I think it's for a reason: we built it ourselves. It's a recording studio, but we created a ticketed night where people can come and listen to music in a legendary space, and it was just so intimate and so beautiful, but it wasn't a traditional venue. And I love things like that, and I would love to discover more things like that within the city. I'm sure it's there, but it's obviously just not mainstream, which I think that's kind of the point.
But that's also my invitation for people in L.A.: create your own nights, whether they're 10 people or 100 people, like create venues, whether they're backyards or recording studios or rooftops or hotels, like whatever, you know, create create experiences. I think that's the heartbeat of the city, going beyond the walls of the traditional venues. So yeah, my favorite experiences have been more of the DIY settings where people are really present and listening.