Today we’d like to introduce you to Justin Bishop.
Hi Justin , so excited to have you with us today. What can you tell us about your story?
I got my start in the music industry back in 2014, curating a campus music experience called Sloughfest at Augustana. What began as a grassroots event ended up drawing over 3,000 students and featured performances from Vic Mensa, Quinn XCII, Goldlink, Smino, and more. That experience opened the door for me to work in artist relations and production for major festival producers like C3 Presents and Danny Wimmer Presents.
From there, I stepped into the label world as a coordinator with MDDN, where I was able to help shape releases and campaigns for artists like Winnetka Bowling League, Carlie Hanson, Xavier Mayne, and Petti Hendrix. That role solidified my purpose: to build platforms that are positive, transparent, and safe for artists to grow—not just professionally, but personally as well.
Over the last 10 years, I’ve had the privilege of developing innovative strategies and guiding artists and producers like K Camp, Marc E Bassy, Joe Trufant, Stix, myboyjon, and many others. Whether it’s working on a debut release, building out a long-term rollout, or just being a sounding board for artists navigating the industry, I’ve always centered my work on trust, creativity, and longevity.
Today, I’m focused on creating culturally relevant campaigns that elevate unique voices—from Hip-Hop & R&B to queer anthems—because I believe the future of music lives in authenticity and bold storytelling. I’m just getting started, but every step of the journey has been a blessing and a lesson.
I’m sure it wasn’t obstacle-free, but would you say the journey has been fairly smooth so far?
The journey has definitely had its moments. It’s been hard, but not unbearable. I jumped into this industry with no prior experience and no clear examples to follow, so I was constantly carving out my own path based on the limited information available to me. I had to fail a few times in order to figure things out — but over time, it became about how quickly I could recognize the roadblocks, adapt, and minimize those failures.
Another major challenge was not being close to a strong, foundational community. As a Black man navigating the music industry, there weren’t many people I could reach out to who truly understood the unique challenges I was facing. That took a toll on my mental health and overall experience. But with all that said, I’ve learned to take the stones that have been thrown at me and use them to build the castle I envision.
Thanks – so what else should our readers know about your work and what you’re currently focused on?
I’m the Head of A&R at Monopoly Distribution, where I play a pivotal role in shaping the careers of emerging artists. My team and I are deeply committed to developing innovative strategies that support both the artist as a person and their creative vision. I’m proud to say we prioritize artistry just as much as business, and that balance is what drives our success. Beyond A&R, I also work across songwriting, production, and tour operations. I wear a lot of hats, and I think that’s part of what sets me apart.
What I’m most proud of is the impact I’ve had—not just on the careers of the artists I’ve worked with, but on their lives. When I look at my roster, past and present, I can confidently say I’ve made a positive impression on them as people first. That’s helped me build relationships that go far beyond any single project or business interaction.
What truly differentiates me is that I’m a jack of all trades. I’ve worked in just about every role this industry has to offer, which gives me a uniquely well-rounded perspective. My goal is to be a one-stop shop for artists—to help build strong, sustainable teams and streamline campaigns that put the artist first, all while creating a business model that works for them in the long run.
Over the years, I’ve had the pleasure of working on some incredible projects but my journey started under Marc E. Bassy, where I worked alongside his team on Gossip Columns, PMD and Folk Hero Funk. I contributed to Carlie Hanson’s Too Late to Cry, which features the fan favorite “Covering Faces” — a track that’s racked up over 2 million streams on Spotify alone. I also developed Milwaukee’s own rockstar Petti Hendrix and co-executive produced his debut album Choose Life. I’m currently developing a roster with Monopoly Distribution as I enter a new chapter in my career.
Risk taking is a topic that people have widely differing views on – we’d love to hear your thoughts.
One of the biggest risks I ever took was packing up a single suitcase and moving to LA with no real plan—just the belief that I could figure it out. Back in 2017, my now-mentor Josh Palomino called me on a Wednesday night and offered me a job as their assistant. He told me to book a flight, and I took the first one out at 6 a.m. The moment I landed, I went straight to a video shoot with Marc E. Bassy and Gucci Mane. That decision changed my life forever.
Beyond that, I think one of the ongoing risks I take in my career is choosing to stand firmly on the side of authenticity—pushing creative limits and challenging what’s considered “safe” or “standard.” That in itself can be risky because not everyone is ready for change, and sometimes that rubs people the wrong way. But I’ve learned that the greatest progress comes from being bold, even when it’s uncomfortable.
To me, risk is less about recklessness and more about faith. It’s trusting your gut, trusting your purpose, and being willing to leap—especially when the outcome isn’t guaranteed.
Contact Info:
- Website: https://monopolydistribution.com/
- Instagram: https://www.instagram.com/legacybishop/
- Facebook: https://www.facebook.com/people/Justin-Bishop/
- Twitter: https://x.com/Legacybishop
- Youtube: https://www.youtube.com/@legacybishop
