Mali Wilson talks about getting butterflies from music, her spiritual writing alongside husband, Eric Wilson, and relying on God and prayer to create songs.
The following recaps an interview with Mali Wilson as part of Downtown Music’s series, The Music Industry Lives Here. Downtown Music is a company DMN is proud to be partnering with.
Mali Wilson’s grandparents, aunts, uncles, and father played music rooted in the Gospel. Originally from Chicago, the Chicago blues is a big part of her life.
“Back in the day when kids didn’t have phones, we had to listen to what our parents played. My father was a big fan of Stevie Wonder, The Commodores, The Isley Brothers, and Memphis soul. My mother listened to Barbra Streisand, Karen Carpenter, The Beach Boys, and the Beatles — and in between them we listened to Bob Marley.”
“I think the first artist that struck me and gave me butterflies was Diana Ross’s Mahogany. It made me want to sing.”
From the time Wilson was a little child, their home had a music room. She loved the drums, but the church wouldn’t allow a girl to play drums in the church. “My dad was great about giving us instruments and having us write songs. The first instrument he put in my hands was a guitar.”
Wilson says she’s actually a vocalist, and learned during years and years of training from ‘people that took me in and helped hone my skills.’
“My first mentor out of high school was Alan Moore, and he was a big music name in the jingle production world. Moore conducted the London Symphony Orchestra, and created songs for Amy Grant and Sandy Patti. While I interned with him, he would take me to Nashville every weekend to write with the likes of Tony Colton, Archie Jordan, and Joe Cocker.”
“Archie Jordan wrote ‘What a Difference You Made in My Life’ for Ronnie Milsap. Tony Carlton has written for everybody from Celine Dion to Boys II Men.”
Speaking about her writing process alongside husband, Eric Wilson, Wilson says she subconsciously returns to the idea of ‘don’t give up on the lyrics and tell a story that you want to hear.’
“A lot of times, Eric helps me with the conceptualization of the song. Whatever the instrument is, I hear a melody. We’re quite spiritual, and I love our writing because having his male perspective alongside mine is beautiful.”
Wilson says there’s a lot of love in her music. “I think the world needs it: love and unity. I try not to be revolutionary when it comes to the deep content. But there are a few songs that will touch you to the core to feel, this is bigger than us.”
She believes music should reflect the times. “That’s what Nina Simone said, too. You should be like Bob Marley. He talked about what was happening.”
“We pray before every session and ask God to give us songs, and then we’ll see what comes out. I’m more creative in a space when I’m sitting down to make music, channeling energy, listening to what it’s saying to me. It’s pretty amazing.”
One of Wilson’s mentors, Charlie Feldman, who led BMI for many years, remains one of her biggest supporters. “Feldman once said to me, you know it’s not easy to make the melodies and just come up with this stuff, right?”
That’s the moment Wilson realized she had a God-given gift. “There’s something special about me being able to connect with musicians that I love, and us coming up with something amazing.”
Wilson admits she struggled with the immense self-pressure of deadlines to create songs.
“Whether it was the biggest superstar in the world, like Toni Braxton or Whitney Houston, or someone new, there was always a hurry to get things done.”
But being under pressure to create art doesn’t work. “It’s like hurrying up and baking a cake. It won’t be as fluffy and light. Now, my spirit runs free with music.”
“When I started writing again three years ago, I had impostor syndrome because I hadn’t been writing for years. But it was like getting back on a bike.”
Wilson admits she had experienced quite a lot of pain, and the words flowed out of her. “Part of my work now is very much my life story. At times, I envision the crowds that I perform for, and it pulls the story out of me.”
“Every day, I look for a ripple. There’s one in everything we do. And I can see the ripples from the past connecting with the future and my music. It’s fun and exciting.”
“And I’m very grateful that I got to see musicians like Lenny Kravitz, Whitney Houston, Elton John, and some of the biggest stars in the world — and be the fly on the wall.”
On working with Downtown’s Songtrust, Wilson says, “I’m fortunate to know people in the company from the past, and my business. I know their character and skill set.”
She reveals the industry norm of companies trying to poach artists, one saying you get paid more than the other. “But my success has come from feeling the person and using my instinct. I’ve been in the business for a very long time. The energy at Downtown, and how they care about music and writers, is not about money.”
“I’ve never been about money. But knowing that there’s a company where people are making sure there’s not a dime missing from anything, it’s a relief.”
About The Music Industry Lives Here: Downtown Music’s interview series allows powerful conversations with the voices shaping the music industry. To gain weekly access to exclusive interviews with music executives, artists, record label owners, and influential figures who drive the rhythm of the industry, join here.
