By Emma Schwichtenberg

In the sultry realms of the music industry, where innovation and tradition waltz in a delicate ballet, Rocky Sandoval stands as a virtuoso who bridges genres with the finesse of a seasoned R&B musician. Picture him on stage, conjuring melodies that speak of passion, perseverance, and a unique artistic journey—one that has been anything but conventional.

From the tender age of five, when a young Sandoval first graced an elementary school talent show, the stage was set for a lifelong affair with music. His early foray into performing, securing second place as a kindergartner, was just the overture to a career marked by harmony and resolve. It was not until the fourth grade, however, that his musical trajectory took a definitive turn. A saxophone, gifted by his grandmother and mother, became the instrument that would both define and propel his artistic path.

The saxophone—a choice that might seem both bold and unexpected—was inspired by the golden sounds of Kenny G and jazz greats like Lester Young. For Sandoval, it was the instrument of solos and expression, a conduit through which he could channel his inner rhythms and harmonies. Even as a child enchanted by Motown classics, his heart was set on the saxophone’s sultry timbre, a fitting complement to his burgeoning love for 90s R&B.

The rhythm of Sandoval’s career is not just about the records; it’s about the life he infuses into his music. His independent spirit resonates through his work, allowing him to release records on his own terms and remain true to his vision. With his forthcoming project, Baguio City Music Box and his fashion line garnering acclaim, Sandoval exemplifies the modern artist’s duality: a blend of creative independence and entrepreneurial savvy.

As a live performer, Sandoval’s shows are more than concerts—they are experiences where fans connect with the essence of his music. Converge Music spoke with Sandoval about exploring new musical landscapes, and old family traditions.

Can you share how you first got involved in music?

I don’t know if it was necessarily music, but I’ve always been comfortable in front of the camera. It started as early as five or six years old when I joined an elementary school talent show as a kindergartner and placed second. While my love for music was always there, I didn’t start seriously pursuing it until fourth grade when my grandmother and mom bought me my first saxophone. I began as a jazz saxophonist and developed a deep passion for music from junior high through high school. It wasn’t until I participated in American Idol in 2002, the year Kelly Clarkson won, where I made it as a top 50 contestant, that I started taking music seriously. Both sides of my family have been musically inclined, with many singers, but I decided to take it a step further by pursuing a music career.

The saxophone is quite a distinctive instrument and not something you typically just pick up randomly. What made the saxophone your choice, and how did it become your instrument of choice?

I used to listen to Kenny G and classic jazz artists like Lester Young, and I thought the saxophone was the coolest instrument. I believed it offered the most opportunities for solos. Even though you usually start with the clarinet and then move to the saxophone, I went straight for the saxophone. It became the foundation for all my music. As a musician, I can read music and understand chord progressions, but the saxophone was my starting point. My dad introduced me to old Motown records, so even as a kid, I was into artists like the Jackson 5, The Manhattans, The O'Jays, Marvin Gaye, and a young Michael Jackson. It might have seemed like I was an old soul, but it was just the influence of the music my dad played for me.

How did you end up on American Idol?

Right after high school, I started recording with a high school friend, and we saw auditions for this new show called American Idol. I wasn’t the lead singer because I initially wanted to be a saxophone player, but as I began writing music and got intrigued by my friend's home studio, I decided to audition. I went into it completely green, with no expectations, and ended up advancing. I had the chance to perform for Paula, Randy, and Simon. My dad almost ruined my audition by walking in during an interview with Ryan Seacrest on national television because he was so excited.

That moment made me realize that pursuing music was what I truly wanted to do. It was a great experience that motivated me. I remember singing Usher’s “U Remind Me,” which was a huge hit at the time. The judges didn’t comment on whether I was good or bad, but they told me they weren’t looking for the next Usher—they wanted the first Rocky Sandoval. I’ve taken that to heart and have been chasing that vision throughout my career.

How did you feel after your time on the show ended?

I wasn’t sad; I was more excited. Getting to the Hollywood round was a huge accomplishment, and seeing someone from my city make it to the top 10 inspired me a lot. Being in the top 50 in Seattle showed me that it was possible, and that really motivated me.

So that was the early 2000s. What did you do after that? What was your next step?

Right after that, I moved to LA because I was determined to become a big star. I thought, "This is what I want to do." I became the epitome of a starving artist—living on a shoestring budget, couch surfing after a breakup, and taking any odd jobs I could find. During that time, I learned how to audition and participated in various reality TV shows, including P. Diddy's Making the Band, where I made it to the top 50. I also auditioned for Ryan Seacrest's MTV Singer-Songwriter and The Score. I got a firsthand look at reality TV, which, while entertaining, felt disingenuous with its scripted elements.

Eventually, I felt LA was draining my spirit, so I moved back to Washington in 2010. I was still attending the Music Institute in LA during that period, trying to stay involved in the music scene. My career took off after returning to Washington. By 2010, I found myself opening for R&B legends on the Ladies Night Out tour, including Brian McKnight, Boyz II Men, Ginuwine, John B., Jagged Edge, 112, and many others. Casey and JoJo were particularly instrumental in helping me hone my craft and gain valuable experience on the road.

How long did the tour run for?

A good three years. I would open up for them every time they came to Washington or Northern California. I ended up doing about six or seven shows with them. That experience really helped me build my name, especially in this region. I leveraged those relationships and continued to build from there.

And during all this time, you were making your own music and figuring out who the next Rocky Sandoval would be?

Yes, and that was when Justin Timberlake was big with his Justified album. My sound was similar to that. When Ne-Yo came out with So Sick and that whole album, I wanted to capture that vibe. I remember watching early Chris Brown and thinking, "I want to do that." So, throughout that period, I was chasing what was new. It wasn't until the last five or six years that I decided to focus on what I truly wanted to do, rather than trying to be the next big thing. A significant moment in my career was when I scored production from The Stereotypes, who worked on Bruno Mars' 24K Magic. This was in 2017 and was a major turning point for me, as I felt closer than ever to landing a record deal. It also taught me a lot about the independent route, which I now fully embrace. Each year, I release new projects and stay consistent with my music and performances. My true supporters will tell you that consistency is one of my defining traits.

So have you been able to keep playing the saxophone or pursue it more?

Not as much, but I do bring it out for special moments during my shows, especially when my mother is in attendance. It usually gets a great reaction from the crowd, with a lot of people surprised to learn that I play. While I don’t consider myself terrible at it, I still get booked for private gigs like weddings to play saxophone, which I think is pretty cool.

I also regret not pursuing piano more, as I believe that songwriters who can play piano have a significant advantage. Saxophones are a unique skill to have on the side, though, because not many people know how to play them. For me, playing the saxophone is akin to singing; the tone and style I use are very similar. I enjoy performing popular ballads, which hearkens back to when my dad played Motown records for me. I still pick up the saxophone from time to time and incorporate it into my music.

You've mentioned your family quite a few times. How did their support or influence impact your decision to pursue music more seriously?

Not from the very beginning. It was difficult at first. Being Filipino, there’s often an expectation to pursue a stable career, like nursing. My mother is a teacher with over 40 years of experience, and my dad is a former military government official. Despite their initial reservations, they have been my biggest supporters. I can’t count how much money I’ve borrowed from them over the past 20 years while trying to make my music career work. Initially, there was a lot of pushback, especially when I moved to LA with no money or stability. However, that experience taught me a lot. Now, as a teacher at Clover Park Technical College, they seem reassured by my stability. Even so, I still get comments from family and friends about my music, but they have definitely been my biggest supporters.

I always like to ask about your artistic process when creating a record. Many people I talk to produce music infrequently, but you’re consistently releasing content. How do you find inspiration and maintain this level of output?

I write based on life experiences and have the luxury of working with great producers who often have tracks ready. I consider myself more of a lyricist and melody creator than a music producer. I've worked with both local and Grammy Award-winning producers. Inspiration comes in waves. I remember writing about heartbreak and being broke when I first moved back home, and then later about the highs of touring and being a family man. My music evolves with my goals and experiences, but authenticity is key. I don’t have a massive following, but my smaller, dedicated fan base is very supportive. My process is simple—I like to drink ginger tea, a family secret from my grandmother. In the studio, I prefer a minimal setup with just me, my engineer, and maybe a close friend. I get nervous in large sessions, like when I worked with Bruno Mars’ producers. I often create songs in my car or late at night when inspiration strikes. Recently, I’ve started working with professional writers who are dedicated to their craft, which has helped me evolve as an artist. I love the process of creating in the studio and could stay there all day without feeling tired.

I’ve heard you write a lot in the middle of the night. Is that true, and if so, why do you think that is?

Yes, it’s true. I find that writing in the middle of the night is when I’m most inspired and focused. My doctor questions this habit, but for me, it’s the only time that truly works. If I have a studio session scheduled for 6 p.m., I struggle to write effectively during the day, especially between 2 and 5 p.m. However, if I can write in the early hours of the morning, around 2 or 3 a.m., ideas flow naturally. It’s just how my creative process works.

You mentioned that the ginger tea was an old family secret from your grandmother. Was she referring to it for music, or was it for something else?

I’m very close with my mother, and we have a special bond, so I tend to listen to a lot of her advice. She mentioned the ginger tea, and I decided to try it. It’s funny because some of my friends can’t handle it—they find it too strong for their stomachs. But since I’ve been drinking it for 30 years, it’s like water to me. People often suggest adding honey or sugar, but I prefer it raw. It’s just how I like it.

Regarding your partnership with Warner Music Philippines, can you tell me a bit about how you secured that deal and how it has impacted your career?

I’m actually at the tail end of that deal now, and it’s been a real eye-opener. As an artist, it’s easy to think that a major label deal will be a game-changer, but I learned that you still have to do a lot of the work yourself. I secured the deal during COVID, which turned out to be a great time for me to prove my dedication. I was recording and releasing music every month for 12 months straight. Warner Music Philippines offered me an exclusive distribution deal, which felt like a huge milestone. I had a two-year deal with eight releases, and while a few of those releases were significant, I didn’t receive the marketing support I expected. I ended up investing a lot of my own money into the projects. Despite this, the experience allowed me to build meaningful relationships, which are crucial in this industry. As my deal concludes, I’m excited to return to being fully independent. I feel I now have the tools, connections, and experience to manage my career effectively on my own.

What do you like most about being an independent artist?

The best part about being independent is the freedom to release records whenever I choose. There’s no boss dictating my decisions. Although there are challenges, the advantages outweigh the disadvantages in my experience. I’ve never had to compromise my vision or creativity for anyone else's expectations. I can fully express myself without constraints, which is incredibly valuable. I also enjoy serving as an inspiration and mentor to younger artists. I see many who think their careers are over if they don’t hit it big early. I try to remind them that there's a long road ahead and that persistence is key. I’ve been through a lot myself, and sharing my journey helps others pursuing similar dreams.

Is there a specific album or record that stands out to you, whether due to the experience of making it or a track you particularly enjoyed?

Each record has its own significance, and I always hope each one will be a hit. My first album, Throwback (2012), is special to me because it included songs that had been in my notebook for a long time, reflecting my experiences in LA. The Still in Love album (2017), which followed my work with The Stereotypes, was another significant project, even though I invested heavily in it and it didn’t turn out as expected. Recently, my records released through Warner Music have been authentic and pressure-free, which I appreciate. I’m particularly excited about my upcoming project, Drill Love. I’m exploring new genres while staying true to my 90s R&B roots. I hope 90s R&B makes a comeback because it’s an era I love and admire. Notably, my Confessions album on Warner Philippines, which featured four singles that each gained over 200,000 views, was a significant success and I’m proud of that accomplishment.

Sandoval is exploring a new genre called "drill love," a unique blend of drill and R&B, and is excited about the potential it holds, especially as an Asian artist in this space. He’s also focused on continuing his impactful live performances, which he believes are crucial for connecting with fans. In addition, Sandoval is launching Baguio City Music Box, an independent label named after his birthplace in the Philippines, and is enjoying success with his fashion line, having sold out of much of his merchandise. These projects will be central to his work over the next two years.

Find Sandoval on Instagram @rockysandovalworld.