Musical multihyphenate Isis Salam discusses turning creativity into long-term capital

For this week’s MVP, we’re chatting with Isis Salam.

Singer. Songwriter. Rapper. Producer. DJ. Label owner. Nigerian-born, Toronto-raised, Berlin-based Isis Salam has lived multiple lives within music—and seen enough of the industry’s angles to develop an instinct for all of them. 

Her breakout came in 2009 as the frontwoman—and undeniable focal point—of Thunderheist, the Toronto-Montreal electronic duo that shook dance floors worldwide with tracks like “Jerk It” and “Nothing2Step2.” But that chapter was only a preview of what followed. 

After going solo, Salam expanded her reach and reputation, collaborating widely  with creators including Pharrell and Junkie XL and releasing over 30 tracks. A true musical shapeshifter, she’s moved fluidly across genres: hip-hop (“Westcoast Chillin’”), soul (“4 The 1s In Luv”), ethereal (“Electric Sheep”), diva house (“She’s A Nobody”) and electronica (“Bills N Tings”). 

Through it all, she’s stayed sharp—keeping, as Snoop Dogg would say, her mind on her money and her money on her mind. Learning from earlier missteps, she’s taken control of both her business and her finances, constantly reassessing and refining her position in the industry. 

Now, on the verge of launching her own artist-first label, Salam is focused on building something sustainable. Her mission is to equip emerging talent with the knowledge to navigate contracts, avoid industry pitfalls, and create lasting, profitable careers. Ahead of her next big chapter, Salam sat down with The Get to break down what it really takes to survive, evolve and win across every corner of the music world.

You just released a single called “Control” in April with Julie Marghilano that is heating up the dancefloors. How did that come together?

I attended a workshop Julie was doing that focused not just on production, but also on how to survive economically outside of just making music. What made it special was that she centred women in those spaces, which honestly makes a big difference when you’re used to being in rooms full of guys. It was in Neukölln, Berlin. We all sat there with our laptops and talked about finances and the economics of being an independent artist. She’s given me more mentorship on managing money and the pitfalls of overspending on the wrong things, especially since she runs her own label, too. 

Tell me about your label. What’s it called? How did you name it?

It’s called Auset Records. Auset is said to be the ancient Egyptian name for the goddess Isis, which connects to my own name. It also represents this divine being of resurrection. I liked that it had multiple meanings—and it also sounded cool.

Who’s the first artist on your label?

One of the artists is Ali All Day. He’s 22, from a really small town in Germany. His sound is liquid drum and bass, but his voice has this unexpected vibe—kind of like a new wave, almost Smiths- and Morrissey-type feel. 

What was the most useful financial advice you’ve received?

The biggest thing was about metadata. You have to check your streaming information and how much your music is actually being used or listened to—especially if you’re doing collaborations with people, as I do, and working across different projects. You might assume someone else handled the publishing or registration, but that’s not always the case. 

I went back and checked some of my older work and realized things weren’t set up properly, which meant I was missing money all the way back to 2014. 

If your music isn’t properly registered, then there’s money just sitting there unclaimed. It’s not the fun part of music, but it’s necessary.

You’ve transitioned from vocalist to DJ and producer. How has that helped financially?

It’s made a big difference. Being a DJ is more cost-effective. You don’t need a full setup like a live performance—just your USB and the venue’s equipment. That makes for you easier to book events. Promoters can still use your name but don’t have to cover the full cost of a live show. So it opens up more opportunities. It’s opened me up creatively, too. Before, I focused mostly on vocals. Now I notice everything: the arrangement, the mix, the progression. DJing also helps me understand how tracks work in a club setting for the people, which influences how I produce new artists.

Now that you’re running a label, what is the biggest warning sign you ask new artists to look out for?

The word “perpetuity” in contracts. That’s a major red flag. It basically means someone wants to own your work forever. Scan for that word right away. Also, record company advances are loans—you have to pay that money back, often in ways you don’t fully realize at first. So understanding contracts, even at a basic level, is really important to be successful. 

How has your approach to money changed over time?

I think of everything as an investment now—time and money. If I’m going somewhere or spending money, I ask myself, “Why? What’s the purpose? Is it helping me grow or connect with people?” Sometimes you don’t need to spend money at all—your time and expertise can be just as valuable.

Has your spending changed when it comes to socializing?

Definitely. I’m more intentional now with shrinkflation being something real happening in bars and restaurants. If I’m spending money on food, I want it to actually be good—not just paying for the atmosphere. Same goes with drinks—I’ll keep it simple and not overdo it. It’s really about being mindful and making sure what you’re spending on feels worth it. I’m teaching the new, young artists that lesson. It’s not about the scene. You don’t have to pay to play—you have to play so you can get paid. 

Any final advice for artists trying to manage money better?

Diversify your skills. I taught myself how to produce, how to DJ, how to write songs in different genres. Get obsessed with your art and with protecting it. Double-check everything, and think of your time and money as tools. You don’t always have to spend to move forward—sometimes showing up, collaborating or sharing your skills is just as valuable. Or more. 

What’s coming up next, musically?

I’ve got new solo tracks coming out this summer, including “Boss Jersey” and “Silly Girls.”

“Silly Girls” has a softer Jersey Club vibe, while “Boss Jersey” leans more into that energetic club sound. The opening lyrics of “Boss Jersey” are actually about investing in yourself: “I wasn’t feeling Gucci happy / so I wrote myself a song / Call me sleepy but she nappy / Black girl stocks are only up”.

Read more from this issue of The Get:

1. Costco super-fans share shopping tips for major savings  
2. True or false: Your car is a writeoff if you’re self employed
3. Passive income jobs: Can you make money without a lot of effort?
4. Can I use a credit card to pay for college?