The Vibe Must Be Right: Inside Bryan-Michael Cox’s Creative Process with "NLN"

Music producer and songwriter Bryan-Michael Cox joined hosts Sean and Kory on the "No Labels Necessary" podcast for a wide-ranging conversation on creativity, legacy, and how R&B continues to evolve. Early in the discussion, Cox emphasized the importance of maintaining a calm studio environment. "You want the environment to be seamless, peaceful, cool. Then ideas start flowing," he said. For Cox, creativity can’t thrive when egos take over the room. “If somebody’s arrogant or somebody’s acting a fool, I’ll leave,” he added.

Marking 20 Years of Milestone Albums

As 2025 marks two decades since the release of Mariah Carey’s The Emancipation of Mimi and Chris Brown’s self-titled debut album, Cox reflected on his role in both projects. He explained that Charmbracelet was a quiet precursor to Emancipation, likening it to a “soft launch” that paved the way. "That was the lob. Emancipation was the slam dunk."

Cox co-produced several tracks on Emancipation alongside longtime collaborator Jermaine Dupri, with the songwriting process including input from Mariah Carey, Johntá Austin, and others. “It always starts as a conversation,” Cox said. “Mariah always references records... she may bring a stack of songs to set the mood.” The group would then build melodies, lyrics, and concepts collaboratively.

Why True Collaboration Is Declining

Cox noted a decline in meaningful collaboration in today’s music industry. While sending files remotely makes joint efforts easier, the quality of that collaboration suffers, in his view. “We’re not in the same room. I’m not sending Mariah an MP3,” Cox explained. Citing his work with The Shindellas, Dave Hollister, and Carl Thomas, he described a hybrid model that merges old-school values with current technology. "Even if Dave couldn’t be in Atlanta, we were still on the phone, giving feedback in real time."

The Making of "Don't Forget About Us"

One of Cox’s favorite collaborations with Mariah Carey is the track “Don’t Forget About Us.” After missing the sessions for “We Belong Together,” Cox was invited back by Carey to work on the deluxe version of Emancipation. The song began with Carey referencing Melissa Morgan’s version of “Do Me Baby,” asking for something “sultry” in the same key. Cox started building the chords while the team passed the mic around the room.

“She has a mic, Pro Tools is running, and she’ll pass the mic to Jonte, then JD, then me,” he said. Once they landed on a concept, Carey pulled from her notebook of lyrics, often referred to as her “butterfly notebook,” to start forming the lyrics. The session was fluid and ego-free, which Cox said is the hallmark of his most successful studio moments.

Humility in the Studio

Cox shared that the biggest stars are often the most humble. “Mariah, Usher, Mary J. Blige — they became my friends instantly,” he said. “They weren’t overly demanding or making things uncomfortable.” He attributes that humility to experience. “The longer you’re in the business, the more you value peace and a stress-free space.”

How Conversations Become Songs

According to Cox, nearly all of his biggest hits started as conversations. “If they say ‘Let’s do three days,’ I’d rather do four — one just to talk,” he said. These early talks provide themes and language that become core parts of the songs. He described writing Ari Lennox’s “Soft Girl Era” after a studio chat about trends and topics women were discussing. “Ari asked what the conversation was like right now, and we landed on that title,” he said.

Preparation Sets the Greats Apart

Throughout his career, Cox has worked with some of the biggest names in R&B. He said the stars who endure tend to be the most prepared. “Usher is warming up with lemon water, vocal coaching, memorizing songs before he hits the booth,” he recalled. He also cited early sessions with a 12-year-old Bow Wow who insisted on recording alone to deliver polished vocals. “He’d say, ‘Y’all go ahead, the songs will be finished when you get back.’”

Cox praised other prodigious talents like Beyoncé, Chris Brown, and Justin Bieber, saying their instincts and professionalism stood out from a young age. “Beyoncé can hear something once and sing it back 10 times better,” he said.

The DJ Perspective and Club Influence

When R&B temporarily lost mainstream ground to EDM and rap, Cox leaned into DJing. Starting in 2009, he began spinning sets in Houston and Atlanta, which helped him understand what resonated with audiences. “I was just playing records. DJs put on a show,” he said.

DJing reshaped his songwriting too. “Now I think about what subject matter the public wants to hear,” Cox said. Conversations at parties and clubs often feed into his lyrical ideas. “My notes app is full of random thoughts. I file things away for later.”

No Producer Tag, Just Legacy

Though Cox never pushed for recognition, his name became more known when Trey Songz shouted him out at the start of “Last Time.” “That was all him,” Cox said. “I’m not the guy to say, ‘Yo, mention my name.’” He believes producers used to be identifiable by sound alone. “We came from an era where you knew a Timbaland or Babyface beat when you heard it.”

In today’s climate, with multiple producers credited on a single track and everyone using similar tools, Cox sees the value in producer tags. “You don’t always know who did what,” he said. “The guy who tweaked the hi-hats might be walking around claiming he made the record.”

Looking Ahead Through Hospitality and A&R

Now, Cox is expanding into nightlife and hospitality with his "Ladies Love R&B" party series. “It’s the biggest party in Atlanta,” he said. “We’re looking to take it on the road.”

In addition, Cox took on an A&R role at Love Renaissance (LVRN), where he mentors artists and helps guide projects. “Sometimes artists need an OG in the room,” he said. “Somebody who’s still out here, still making hits.”