Talya Elitzer Details Her Journey From William Morris Endeavor’s Mailroom To Co-Founder of Godmode

Talya Elitzer’s career in the music industry began in the mailroom of a major Hollywood talent agency. Today, she serves as co-founder and President of Godmode, an artist development company known for championing the likes of Channel Tres, JPEGMAFIA and more.

The Los Angeles-based exec was a fresh grad from Brandeis University when she kicked off her career by delivering mail to agents at William Morris Endeavor (WME) — a humble yet eye-opening experience that led her to becoming a booking agent, working with the likes of M.I.A, Britney Spears, Björk and LCD Soundsystem. “It was an incredible start to my career,” she fondly recalls. “I learned a ton and met an entire network of people that I’m still quite close with today.” When her time at WME came to an end, she flew across the country to be closer to the music-making process as a Senior A&R at Capitol Records, spending almost three and a half years at the major label.

Elitzer credits her time at Capitol as a major inspiration in building Godmode, which she co-founded with Nick Sylvester in 2017. The inception of the company dates back to her days in Brooklyn, when she and her group would host music release events “as an excuse to throw another party,” but the true catalyst for Godmode was when they started managing an artist in Los Angeles. There’s a disconnect between companies that don’t quite understand the modern cultural landscape and artists, and that gap allows an entity like Godmode to thrive. “We believe that every detail matters, from the artwork, to the sound of the high hats to the first team members hired,” says Elitzer. “We pay close attention to how culture moves and build our artists accordingly.”

“If you’re an artist who’s smaller than Drake (which is most artists), it’s about getting it to the right people first rather than the most people.”

Can you run us through a day in your work life?

It’s different every day. Some days are spent in the studio for shoots, other days I’m at my desk on the phone with my artists. Managers are the liaison between the artists and the rest of the industry, so there are always lots of meetings and hangs with labels, publishers, publicists, etc.

There are a lot of moving parts with each of your artists. Would you say your process is quite standardized or is it tailored to what the artist wants and needs?

It is the furthest from standardized. Godmode is set up as a resource for what each of our specific artists needs.

A lot of our strategy is not about “How do we send this out to the most people possible?” or “How do we get this in front of the most people possible?” If you’re Drake, that’s an excellent tactic, but if you’re an artist who’s smaller than Drake (which is most artists), it’s about getting it to the right people first rather than the most people.

For example, with Channel Tres, we didn’t spend a dollar in the US until two years into his career. We deliberately spent money in Australia and France only, watched it trickle down and then started building it in the US. It really worked for him. We spent money on a specific kind of sketchy dance and DJ plugger, instead of using one of the big DJ promo companies who are going to blast it out to 10,000 DJs. We knew that this guy, who was based in Ibiza and parties with the right people, would get it played.

Of course, I can send music to the head of editorial at Spotify, but maybe I shouldn’t. Maybe I should send it to the 22-year-old who’s cool and whose taste people actually listen to, and then watch it work better in the system. A lot of these decisions really make an impact in a campaign.

We are generally very deliberate about how we present things in the world.

What’s the most vital aspect of the process?

Oftentimes artists don’t know what the most special thing is about themselves and it’s our job to shine a light on that. That’s what we pride ourselves on doing.

It’s really hard to be an artist in 2023. You’re a faceless name on a playlist with 200 other faceless artists. The work that I’m most proud of is all about creating a world around each of our artists so that when you encounter one of them, they’re unmistakable and you’re like, “Wow, how did I not know this existed before?” That’s how you build long careers.

“In the music business, there’s no barrier to entry. You don’t need a certain degree, and so people handle themselves differently. Working with class is how you can command respect in this business.”

How did your previous work as an exec at WME and Capitol Records shape your work at Godmode?

Major labels work more like venture capitalists than music companies at this point — they want to sign songs that are already moving, rather than signing artists at an earlier phase and developing from there. For me, I was excited about doing more of the creative work with artists and building out that part of their careers. This was a big inspiration in building Godmode.

I wouldn’t have traded my time working in those places. I gained a ton of insight into how the larger machines work and what I didn’t want to do for Godmode.

Did you always know you wanted to have the career you do now, and did school play any part in inspiring you to this path?

I grew up in upstate New York where nobody worked in the music business, let alone entertainment. I honestly didn’t even know that it was an option. As soon as I caught wind I could work in music for my job, I was sold.

I wasn’t big on school. I did enough, but it didn’t really guide me here.

What are the necessary first steps a young person should take to enter a career in music?

The most important thing is to make connections with your peers. The people I was pushing a mail cart with are big executives across the industry now and many of them are still my closest friends.

What lessons and/or work ethics did you only pick up after working in the music industry?

The biggest lesson I learned from my first boss was how to move in the business; how to talk to people and how to present yourself — to still have success and be able to hang, but with taste and credibility. In the music business, there’s no barrier to entry. You don’t need a certain degree, and so people handle themselves differently. Working with class is how you can command respect in this business.

What was the biggest challenge you’ve had to face so far and how did you overcome it?

After working in the industry for many years, I felt frustrated that so much of it was not about the music itself at all. Working in some of these larger companies was about signing as many artists as possible, rather than signing artists people believed in.

It took me years to realize that I had to create a different environment and community for people who had the same ethos as I did. I believe that if you put more thought and work into something it shows. It was hard at first, but I’m proud that our work speaks for itself.

“It’s really hard to be an artist in 2023…The work that I’m most proud of is all about creating a world around each of our artists so that when you encounter one of them, they’re unmistakable and you’re like, ‘Wow, how did I not know this existed before?’”

What is one thing about your job that most people would find unexpected or surprising?

So much of my job is psychological. Artists are complex humans who have a lot on their plates. A big part of my job is to support them in whatever capacities they need.

What are some habits you follow regularly to maintain a good headspace for work?

Exercising every day and having a relationship with music that is separate from my work. I still love playing classical piano at home. I’ve been playing since I was a kid.

What does a day off look like for you?

What’s a day off?

How do you see your job evolving with the music industry in the next five years?

Artists are looking for different types of partnerships that are non-traditional and outside of the major label system. I’m excited to push the boundaries of what that looks like and help support artists in all the new ways they need.

There aren’t a lot of companies like Godmode who are independent and interested in moving culture on a broader scale. I’m excited to continue to grow and work with different kinds of artists.