Shanna Fisher Photography
Valerie Fahren—top Los Angeles vocal coach, artist development specialist, record producer, and singer-songwriter with over 25 years of experience (and stories!) in the industry.
Valerie has worked with artists like Edgar Winter, Neil Diamond, and Juliette Lewis, Grammy-winning producers Michael Jay and Andre Lindal, and A&R execs like Max Gousse and Omar Grant. Her clients—ranging from beginners to A-list performers—have appeared on major TV shows, national Broadway tours, and alongside stars like Chaka Khan and Angela Lansbury. As an artist, she’s recorded with Chick Corea, David Arkenstone, and others, and has co-written over 100 songs with emerging talent
Your career spans decades, with roles as a singer-songwriter, producer, artist development specialist, and vocal coach. How do you balance these identities, and do they feed into each other creatively?
I love helping other artists blossom and create their future, which also inspires me to create my own art. I definitely have to remind myself sometimes that I am not just a producer, songwriter and coach, but a singer. So performing live does that for me. I love performing live!
Can you share a behind-the-scenes story from those collaborations that still makes you smile?
I was working with a teen singer-songwriter-dancer, Pierce, who was 15 and super talented. He was in my Artist Development and Album Development Program and performed in my showcase. Omar Grant, who was VP of Roc Nation (and A&R’d Rihanna), attended and was very interested in Pierce. We were invited to Roc Nation to meet with Omar Grant (who is now Co-President of Roc Nation).
We had a great time, learned so much, and also met Jay Brown, who was super kind and fun. Omar listened to Pierce’s songs, and we spent two hours there in total. It was a great learning experience. Omar was watching his growth. Still makes me smile.
What’s your approach to preparing a performer for such high-stakes auditions?
It takes a lot of dedication from both myself and the artist. Mostly, the artist has to practice at home above and beyond our development time, and be willing to take my notes and work with me on the presentation for many hours, days, and sometimes weeks. This is high-level preparation — not just practicing a few times and winging it.
The artist truly has to be drug-free, present, hard-working, dedicated, confident, and consistently practicing their routine to perfection. That way, by the time the audition comes, they can fully communicate their artistic presentation instead of getting caught up in the technical part. The artist also needs to do their homework and research the business side — what label, TV, or film media they’re auditioning for.
Fame is not guaranteed, and the artist is ultimately responsible for closing the deal on their audition. I can do everything possible to help, but they need to understand their career is their responsibility — not mine or anyone else’s. If the artist gets a “no,” I tell them to move on to the next opportunity. Persistence is everything.
How do you define true artist development?
Well, okay [laughs], without giving away the details of my copyrighted program, it’s really about focusing in and finding out what the artist is about — their message and purpose. Without that, most programs won’t work, because you need the artist’s agreement on what they’re creating.
I’ve seen it fail when artists just want someone to tell them what to do with no participation in the creative, or when they’re there because someone else thinks they should sing opera but they really want to sing pop. Or when a producer ignores and overrides the creative vision of the artist. That doesn’t work.
The artist’s true gift needs to be validated, encouraged, and developed with specific exercises and drills to help them move to the next level. This motivates the artist when they know they have someone behind them who really understands who they are. Of course, it also requires their full participation.
First song you ever performed in front of an audience?
“Downtown” by Petula Clark in 4th grade! I was so nervous, but I loved the song — it was one of my favorites. I got lots of praise, but of course there was that one evil kid who said it wasn’t really my voice in the speakers. We all know what that means — he was jealous. Looking back, I wish I had realized that at the time. So, here’s a note for you beautiful artists out there: don’t pay attention to criticism.
Coffee before rehearsal — yes or no?
Oh yes! Always! Probably a Venti hot Caramel Macchiato without the vanilla syrup from the Starbucks drive-through.
A vocal warm-up you swear by but might look funny to outsiders?
I have some operatic exercises from 30 years ago that were handed to me by a Metropolitan Opera Star. For pop or R&B singers, they might sound cheesy — but they are the most strengthening vocal exercises in the world.
It’s like dance: classical ballet is the most technically correct and strengthening foundation there is. Then you can always learn hip hop or jazz on top of that, but you’ll have the strongest foundation to grow from.
Your dream duet partner (living or not)?
Well, that’s a good one. I love so many singers. Obviously, Mariah Carey, or maybe Reba McEntire — she seems amazing. I also love Martina McBride’s voice, and John Legend’s. Blake Shelton would be awesome too. Okay, I think I’ll say Blake Shelton [laughs]!
Most unexpected place you’ve ever written a song?
Not really anything new, but in the middle of the night in my sleep. I’ll wake up and run to my computer to type it up and record the melody.
One vocal tip you wish every singer knew by heart?
Correct breath support. It is almost everything. It controls tone, pitch, projection — and without it, you don’t have good control for professional singing.
I would say 90% of singers who come to me for lessons have never used professional breath support exercises. Instead, they use what I call “choir breathing,” which is not the same as professional breath support for a top performing artist.
Biggest pet peeve in a recording studio?
When I can’t hear the singer well enough from outside the booth to vocally produce them correctly. I need to hear every detail, and it’s amazing to me that it even has to be discussed — but it does. I have to have control over that requirement as a coach and singer, so I can do the best possible job for the artist.
Second, if the engineer or producer isn’t willing to listen to my 30 years of experience as input, I don’t go back to that studio.
Third, I can’t do big facilities with a bunch of tiny rooms. I did it once and never again. Once there was pot smoke coming from the other studio — I said “no thanks” and promptly exited stage right [laughs].
Three words your students might use to describe you.
Well, one of my students said the other day: Always helps with their vocal issues. Kind.
And great to work with in helping me with my career.
The record you’ve played more times than you can count.
Probably Mariah Carey’s first album, Mariah Carey.
If you weren’t in music, you’d be…?
Ha, a stage mom! There is no other choice. I love that hat — it has been my happiest time besides doing my own music and helping others.
