In an ever-evolving music industry, artists who have lived through pivotal moments hold a unique perspective, and few encapsulate this as richly as Inland Empire’s own Noa James. Having emerged during the blog era, Noa James carved his path amid an unprecedented time when artists, for the first time, had direct access to listeners without traditional gatekeepers. This era fostered both freedom and formidable challenges for burgeoning independent artists, as digital platforms expanded rapidly and gatekeeping quietly re-emerged. Known for his perseverance and profound commitment to self-reliance, Noa James navigated these shifts with resilience, laying the foundation for his current standing as a community-rooted artist and advocate.

Reflecting on those years and the role they played in shaping his career, Noa James shares insights on the duality of the blog era. The early freedom gave artists opportunities to connect authentically, yet the latter challenges of gatekeeping drove him toward a DIY ethos. This independence is evident in his music, events, and outlook. Noa’s experience speaks not only to a critical juncture in music history but also to the enduring value of autonomy, collaboration, and growth—values that have propelled him to innovate continuously. Through a rich career now intertwined with his personal life and heritage, Noa James exemplifies what it means to honour one’s roots whilst forging a unique legacy in music, business, and community.

After all these years, Noa James continues to impact others’ lives while evolving his own. It’s remarkable to witness the profound influence his grandmother has had on him, shaping his positive mindset and inspiring his journey. I’m pleased to share my essential conversation with the artist, covering meaningful topics such as building a legacy, ensuring the safety of festival and show attendees, the nuances of hypothetical parenting, reflections on the blog era, handling rejection, and more.

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Richardine: We’ve known each other for so long. Now that I think about it, my first interaction with you could have been through online interactions over a decade ago, which is wild. In hindsight, as an artist who emerged in the blog era, do you think those times hurt or helped our industry? Did it affect you positively or negatively? If anything, what would you have changed about yourself back then?

Noa James: The blog era was a game-changer for unknown artists, giving us a direct path to listeners without gatekeepers in the beginning. It allowed artists like me to get discovered and connect with fans who were hungry for new sounds. But as the era grew, gatekeeping crept in, and getting onto the bigger blogs became harder. I’m grateful to the ones that supported me, though those blogs helped me reach new audiences and opened up doors I wouldn’t have found otherwise.

I wouldn’t call it a negative experience, but facing those challenges did push me to become more independent. When certain platforms weren’t available, I learned to build my own like creating my own website and blog or even putting together my own shows. The blog era really laid the foundation for me as an independent artist, teaching me the value of self-reliance and collaboration. It wasn’t just about music; I learned a lot about merchandise, too. Watching artists like Diz Gibran, Dom Kennedy, and Pac Div move, I realised there were so many ways to build a brand.

And honestly, I wouldn’t change anything about that time. It gave rise to so many influential artists Kendrick, Cole, Wiz, who have become leaders in the industry. The blog era was crucial, and it left us with a blueprint for what’s possible when you stay true to yourself and your journey.”

Richardine: What has kept you in “the game”, as they call it, for so long?

Noa James: What’s kept me in this game for so long is having truly found my place and pace in this culture. Music is more than just the art; it’s everything that surrounds it. I’ve built a foundation through services in music, and I love every part of it from performing and touring to the art of branding, which I’m passionate about as a wrestling fan. There’s a lot that connects wrestling and music: storytelling, vulnerability, and giving fans the chance to grow with you. It’s a blessing to have fans of all ages now some who started with me, and now their kids or nieces and nephews are along for the ride.

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One of the biggest parts of what fuels me is having the love of my life on this journey with me. She’s not only my partner in life but also my business partner and manager. We’re out here making music, making money, and making memories together. Having someone who not only believes in you but also has their own businesses within the culture brings so much strength and vision to everything we do. I’m not out here chasing fame, but I do want to keep growing my platform. One day, I’d love to reach a place where I can release something, and it connects instantly. But for now, I’m enjoying every part of this journey fueled by love and the shared vision we’re building together.

Richardine: Not many people know my daily life struggles nor the recent challenges I’ve had to face as an individual. Sometimes, business constituents want to come close and get to know me personally. Mostly, I am uninterested or in yet another healing phase, so letting someone in isn’t ideal. I’ve been on an inconsistent self-care journey, finding my rhythm and cocooning when needed. But I can say that I can see how much I’ve grown. How would you describe your personal growth?

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Noa James: My growth has been a journey, man. When I started, my music was dark. I was an angry, hurt kid, writing about some heavy things my mom in prison, my dad being deported, bouncing around group homes, even being left in crack houses or put up as collateral for drugs and guns. I went through it all as a kid, and that’s what my first five, six, seven albums reflect.

But therapy changed a lot for me. Therapy, accountability, forgiveness, gratitude these things have been the foundation of my self-care. I’ve been intentional, practicing grace and mindfulness, and while I’m not perfect, I’m consistent in moving forward. My growth isn’t a straight line; it’s more like an ebb and flow, but every step forward matters.

These days, I see myself differently. I went from that kid in the darkness to becoming the ‘Orca Mane’, King Orca, the ‘Love Monster’. My signature is my smile now. That’s where my growth has led me a place of real gratitude.

Richardine: When we were on the phone recently, you mentioned your lady and matrimony, which begs me to ask a hypothetical question: Picture yourself as a non-musical parent without any knowledge of how the business works. Would you want your children to start a career in music/entertainment? Why or why not?

Noa James: Yes, yes, we’ve got something very, very majestic planned for our twenty-year anniversary. But, man, that’s a great question. Would I let my kid go into the music or entertainment business? Absolutely. I’d probably be to them what my granny was to me. She was like my first real manager. She taught me how to carry myself, be professional, and have some decorum.

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I remember when I was interning at Voodoo Nation Records and felt like I was just being used. My granny told me, ‘What do you have? You’re there to gain knowledge. As long as they aren’t misusing you, be useful.’ She put it simply. If you’re a water hose and they’re using you as a water hose, you’re in the right place. But if they’re trying to use you as a shovel, that’s when you’re being misused. That lesson stuck with me, and she was always there with advice like that, guiding me even when I couldn’t get on blogs. She’d say, ‘What’s a blog?’ I’d explain it’s like an online newspaper, and she’d reply, ‘Then, get into an actual newspaper.’ That’s how I ended up on the cover of IE Weekly and other local papers.

If my kid wanted to go into this business, I’d want to be there with those kinds of gems, guiding them from a place of experience. Even if I weren’t in music myself, I’d bring a business mindset. I’d want to support them like Tony Hawk’s dad, who helped legitimise skateboarding by starting the Skateboard Association. I’d be there helping them make moves with purpose.

Richardine: For as long as I’ve known you, you’ve always put on for Inland Empire, a city that is a distant drive away from Los Angeles in California. I know that your family is of Haitian heritage. Do you know what made your family move to IE? Is there a large Haitian population in the Inland Empire?

Noa James: My roots are spread out across a few places. My Haitian heritage comes from my father’s side, mostly based on the East Coast and in the South, and some family is still in Port-au-Prince. Growing up, I lived in a group home in Queens, New York, and later with my grandfather’s family in Jacksonville, Florida, who are Black American with Native American heritage from the Chickasaw tribe. After that, I moved to Pasadena to live with my grandmother on my mom’s side. When my grandfather passed, the IRS took our house, and we spent three years living in a motel on Colorado Boulevard in Pasadena before eventually moving to San Bernardino.

So, my background is a bit all over, but it’s shaped who I am today. My legacy now is grounded in the Inland Empire. I’m proud to represent IE as a Haitian Black-American man, bringing all of those influences into my music and my life.

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Richardine: You are one of the people who was on their do-it-yourself/DIY tip in that era. Do you think that was due to not getting the support you had hoped for as an artist?

Noa James: Yeah, I’d say going DIY definitely came from necessity, but not because of a lack of support from fans or the people around me they’ve always been there. The need for DIY came from the costs of getting things done as an independent artist. Videos could easily run $1,500, merchandise around $500, and things like PR and shows add up fast. For just one track, you could easily drop $3,500. So, DIY became a way to cut costs.

Over time, I took classes, got certified in different skills, and learned enough to handle these things myself. Now, people even hire me to do for them what I do for myself, and that’s been a blessing. DIY wasn’t so much about not getting the support I wanted as an artist, but more about not having the ‘machine’ behind me the manager, capital, or industry connections that can make things smoother.

Now, DIY is also about understanding my branding what my brand is really about and how to represent it authentically. Sometimes, it’s hard to explain my vision to others or to get them fully aligned. People might have their own ideas for me, and if their vision doesn’t line up with mine, it’s easier just to do it myself. Another part of it is that, even when you pay people well, they sometimes take their time delivering. That’s one reason a lot of us artists start wearing many hats. Some say, ‘Jack of all trades, master of none,’ but I’d say we’re more like ‘Jack of all trades, master of some.’ We’ve mastered enough to keep things moving and now, as things grow, it’s become easier to delegate when we’re ready.

Richardine: What made you create your first music festival? What makes yours different?

Noa James: I created my first music festival after experiencing the Paid Dues festival, which really opened my eyes to what’s possible for an artist. Shout out to MURS for that opportunity! As someone who hosted and interned at Paid Dues, I got to see how the machine operates and understand the logistics behind putting on an event. That inspired me to create something similar on a smaller scale.

With the DIY Music Festival, I also wanted to pass on the knowledge I gained from Paid Dues. We taught artists about sound checks, working with sound engineers, merchandise preparation, and how to perform at festivals. It was like a crash course in what I learned at Paid Dues, but tailored for indie artists.

60 East created an underground festival similar to Paid Dues, leading him to start the Happiness of Pursuit Festival. We eventually decided to end our DIY festival after a long run to support his festival, which is a testament to the community we’ve built.

What truly sets our festival apart is not just the music but the majesticness of the Inland Empire. The unique location and the diverse crowd we attract—skaters, Hip-Hop heads, Rockabillies, Punk fans make it a one-of-a-kind experience in Southern California.”

Richardine: I like outdoor music festivals a lot because I love live music and meeting new people, but they are a little scary to me when I think about what goes on in those crowds. I don’t know if you are aware, but there are several articles about sexual assault, sexual harassment, and violence being a huge problem at music festivals. Music fans and people who genuinely care about others — especially women — want event organisers to do more about stopping it. As someone who is in that space, how do you make sure that all the people coming to your events are safe?

Noa James: When it comes to safety at our events, I have to be honest—my partner Lesa J has to keep me in check because I can get pretty intense about protecting our community. We’re like a tight-knit family; we won’t tolerate negativity. Even with a couple thousand people at our festivals, the energy shifts quickly, and we have a zero-tolerance policy for any bad behaviour. We’re known for being proactive if someone steps out of line. We can handle it swiftly and efficiently.

Our events, especially the ‘Happiness in Pursuit Festival’, emphasise inclusivity, and we’re proud to book a diverse lineup. It’s one of the few festivals on the West Coast where about 40% of the artists are women. We understand the importance of representation and want everyone, especially women, to feel safe and welcome.

We have dedicated security personnel, like our guy Mondo, who takes his role seriously. Our events have become a kind of gated community where everyone knows the rules. Once you’re in, you have to respect those rules.

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I also encourage open communication among attendees. We hold discussions about safety and accountability, reminding everyone to check in on each other, especially, the younger artists. We emphasize the importance of speaking up when something doesn’t feel right, and since we’ve implemented these practices, we’ve been fortunate to have no serious issues at our events. We feel blessed and committed to maintaining a safe environment for everyone.

Richardine: What are you currently working on? How does his 2025 look?

Noa James: In 2025, we’re planning a grand twenty-year anniversary wedding festival with the help of my homie MURS. It’s going to be a majestic celebration! Alongside that, I have a couple of tours lined up, and we’re excited to have a stage at the LA County Fair in May.

I’m also re-releasing ‘Granny Said’, which is one of my favourite albums, and I’ll be doing a special vinyl edition for it. Additionally, I’ll be dropping ‘Majin Buu, Buu’s Hungry’ with Josh Martin, featuring some remixes and a pink vinyl.

There’s an album in the works with my homegirl Ritual Fade, an amazing Filipino producer, which is going to be quite different. I’m also collaborating with OD, who just graduated from the 1500 and Nothing Academy, and I’ve got another album coming with Ascend Beats that will focus on boom bap and good vibes.

On top of all that, I’m planning trips to Laos, Thailand, and Tokyo Disney, and there’s another Hawaii tour with Jmkm & Imran Unreal Poke. The pandemic definitely slowed things down, but now everything feels like it’s moving beautifully, and I’m realising that some things are easier for me now compared to when I started. 2025 is shaping up to be an amazing year!

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