Caroline Mongillo didn’t follow a traditional path into the music industry; she built her own. As the founder of Synesthesia Collective and manager of JAMiAM, she’s quickly becoming a force behind the next wave of electronic artists. With roots in grassroots promotion and a career forged through self-taught experience, her journey is as organic as it is intentional.
In this exclusive interview with Electric Hawk, she opens up about navigating the industry without a blueprint, building a purpose-driven collective, and why community remains at the heart of everything she does.
In Conversation with Caroline Mongillo
seradopa: To start off, can you introduce yourself and tell us a little about your journey into the music world?
Caroline Mongillo: My name is Caroline. I am currently in Artist Management for Synesthesia Collective, which is my brand. It is currently focused solely on Artist Management, with many future goals beyond that, which is why it’s tagged as a collective.
We are women-owned here, just me at the moment, looking to expand in the future with other amazing women in the industry. That’s a big focus and goal of the brand. The mission is to empower more women on the back end of the industry, employ more women, and get them into the seats that need to be filled. A lot of us would agree on the fact that it is very male-dominated. So, given a lot of conflict and issues that have arisen over the years, with especially women feeling unsafe in the music industry, it’s really felt like we needed more women-led businesses, as we always do in this day and age, but especially in the electronic scene, regarding management representation being very male-dominated.
It’s not inherently an issue, but having women’s representation is really important and creates much safer spaces for new and up-and-coming artists who may prefer female representation. We want to create that space, that dynamic, and really grow with that. The future lies far beyond management, agency, and labels, but for right now, that is the focus.
It’s been a couple of years now and it’s very exciting. That’s a bit about me and my business, and I can get into the background a bit more further into the interview!
seradopa: Do you remember the moment or experience that first pulled you toward electronic music?
Caroline Mongillo: I first discovered electronic music when I was around 13 or 14, right in the Skrillex era, like a lot of people. I actually remember the exact moment, I was on a family trip in Vermont, skiing with my older sister, and her boyfriend was playing Skrillex in the car, Scary Monsters and Nice Sprites. And I was like, “What is this?” Then I was drawn to it after hearing that!
So that was kind of the first time I ever heard electronic music in a way that it resonated with me. I remember listening to that at the time. Then some of the next artists I listened to after Skrillex were Zeds Dead, who my sister also introduced me to, that was kind of my first glimpse into electronic music.
I went to my first show when I was 15, back in Connecticut, where I grew up. There was a venue called The Dome at the Oakdale Theater in Wallingford, which was kind of my home base for shows back then. Excision came through on tour, I think it was the Executioner Tour, and I went with a friend from high school after seeing ads for it on YouTube.
I just remember being blown away. The energy, the visuals, the crowd, it felt electric. And I wanted to be a part of it. I’ve always been kind of a wild child. As my mom would say, “march to the beat of my own drum.” So I’m always looking for the kind of niche, interesting, creative parts of life that really intrigued me. I went to the show, had an amazing time, and fell in love with the community there. And I instantly knew after that first show that I just wanted to keep going.
After that first show, I was all in. I fell in love with the music, but even more with the community around it. It felt like I had found something that really aligned with who I was.
seradopa: What was the spark behind starting Synesthesia Collective? Where did that idea first come from?
Caroline Mongillo: That’s a great question. My path in the music industry has been pretty organic and a little unconventional. I started out doing street team promotions, and by the time I got to college, I was exploring all kinds of roles. Everything from volunteering at festivals, working front gate, ticketing, and operations to contributing creatively, like helping with art décor for early events. I also interned in marketing with a local venue in Michigan, which was supposed to lead into my first paid festival work, Lightning in a Bottle, right before COVID hit.
My plan had been to transition that internship into a full-time marketing role at the venue, but when the pandemic shut everything down, the industry came to a halt. Like many people, I had to pivot.
Around that time, my close friend Jamie [JAMiAM] started producing music. At first, it was something we joked about, like “When you make it, I’ll manage you,” but pretty quickly it became clear she had real talent. She comes from a strong musical background, similar to mine, and has an incredible ear. Watching her grow made me realize there was something real there, not just as a friend, but from a genuine industry perspective.
We started talking more seriously about management, and because we were both new. She, as an artist, and I, as an aspiring manager, made it a shared learning experience. There was a lot of trust already, which made it a really safe space to figure things out without pressure. As she developed her sound and momentum, I dove deep into learning artist management and naturally stepped into that role.
About a year into managing her, I started thinking bigger. That’s when the idea for Synesthesia began to take shape. It wasn’t immediate; it came from actually doing the work, learning the backend of bookings and operations, and realizing how much I loved it. It felt aligned in a way that was hard to ignore.
A lot had come to light over COVID, and right before, in the music industry, with a lot of predatory behavior of other artists in the industry that were exposed, we all know about that. That was really unfortunate and, honestly, heartbreaking to find out. I started asking myself what I could build that would not only support artists but also contribute something meaningful to the community. That’s where Synesthesia Collective was born: out of both experience and intention.
I launched it initially as a management-focused collective, starting with just Jamie, but with a broader vision for the future. Since then, we’ve grown to include more artists, and it’s been amazing to see how quickly things have evolved.
Looking back, the whole journey feels very natural, like each step led to the next in a way that just made sense. And for me, that sense of alignment is everything.
seradopa: Starting something independently in the music industry can be tough. What were some of the biggest challenges you faced early on?
Caroline Mongillo: In the beginning, a lot of it came down to doing my own research. I didn’t come from a formal music business background. I studied Communication and Media, and my early professional experience was in marketing. That actually helped more than I expected, because marketing is such a huge part of artist management. But when it came to the music industry specifically, I was learning everything from scratch.
The biggest early challenges were on the technical side. Things like contracts, legal structures, and the operational side of management. I was constantly looking things up, asking questions, and reaching out to people for guidance or mentorship. That’s something I always recommend to anyone starting out: don’t be afraid to ask questions and learn from others who’ve done it before.
Because I was so new to it, I was very intentional about growing slowly. I only worked with Jamie for over a year before taking on any additional artists. I wanted to make sure I really understood what I was doing before expanding, so I could show up properly for the people trusting me with their careers.
But beyond the technical side, the biggest challenge was, honestly, self-trust. Starting something new requires you to really commit, even when you don’t feel fully ready. I had a strong background in music and a good instinct for it, but stepping into artist management was still unfamiliar territory.
A big part of the journey has been trusting that the skills I already had, combined with the effort I was putting into learning, would carry me forward. It became a mindset of: just keep going, keep learning, and trust that you’ll figure it out because you do.
seradopa: One of the most rewarding parts of management is growing alongside artists. Can you talk about what it feels like to watch an artist evolve from their early stages to reaching bigger milestones?
Caroline Mongillo: Oh my goodness. I literally almost cry thinking about it immediately!
We recently came off such a high from being in Hawaii, and moments like that still feel surreal. Watching an artist grow in real time, especially someone whose music I genuinely love, and who is also one of my closest friends, is an incredibly unique and powerful experience. There’s a level of pride there that’s hard to put into words.
We’ve had so many of those full-circle moments together, where we’re just looking at each other like, “How is this real?” One that really stands out is seeing her on stage at The Caverns last November, opening for LSDREAM. That was a huge milestone for us, the energy, the crowd, the support, it all came together in such a beautiful way.
Those are the moments where everything clicks. You’re watching the artist perform songs they’ve spent months, sometimes years, building and seeing the crowd connect with that work in real time is just incredible. It’s that feeling of alignment, like you’re exactly where you’re meant to be, doing what you’re meant to be doing.
I’m definitely an emotional person when it comes to things I care about, and this is one of those experiences that really hits. It’s the best feeling watching something you’ve both poured so much into come to life and evolve right in front of you.
Being part of Jamie’s growth over the past few years has been so special, and I’m incredibly grateful for what we’ve built together as a team. It makes me even more excited for what’s ahead with her and with the newer artists I’m working with now.
It’s surreal, it’s emotional, and honestly, it’s the best feeling.
seradopa: Are there changes you’d love to see that could make the space healthier or more sustainable for artists and teams?
Caroline Mongillo: I’d love to see more collaboration across all levels of the industry. Especially between local venues, underground collectives, and the larger names that are shaping the space right now.
The underground exists for a reason, and there’s something really special about preserving that. At the same time, we want artists to grow, thrive, and sustain themselves financially. The question is: how do we support that growth while still honoring the culture?
At its core, the EDM scene has always been about community. That’s such an important foundation, and I think there’s an opportunity to strengthen it by building more bridges. Connecting smaller underground artists and collectives with mid-level teams, labels, and larger industry players.
Right now, there’s a bit of a disconnect between those layers. But in reality, they all rely on each other. Larger organizations can help fund and support smaller events and emerging spaces, while the underground continues to drive culture, discovery, and authenticity. There’s a natural ecosystem there; we just need more intentional collaboration within it.
I’d love to see more spaces for open conversation and alignment where different levels of the industry can come together, share ideas, and build something more cohesive. Because when that collaboration happens ethically and thoughtfully, it benefits everyone.
Artists don’t stay in the underground forever and they shouldn’t have to. We want to see them grow, succeed, and build sustainable careers. So the goal is creating a pathway that supports that evolution while still protecting the integrity of the scene.
Ultimately, it’s about building a system that’s collaborative, ethical, and community-driven, where everyone, from artists to audiences, can benefit. That’s what I would love to see!
seradopa: Looking ahead, what are your hopes for Synesthesia Collective over the next few years?
Caroline Mongillo: Looking ahead, a big priority for me is expanding on the backend. That means bringing in additional managers and assistants so we can continue growing the brand in a sustainable way. I’m especially passionate about creating more opportunities for women in the industry. Ideally, that looks like onboarding female managers who can either bring their own artists or develop new talent under Synesthesia.
From there, the next natural step is building out an agency. Management and agency work often overlap, but they serve different roles. Managers support the artist holistically, while agencies focus specifically on bookings. Creating a dedicated agency arm is something I see happening within the next few years.
Beyond that, I’m thinking long-term. I can definitely envision expanding into a label down the line, something that aligns with the values we’re building now. It’s all about growing intentionally and creating a structure that supports both artists and the broader community.
seradopa: And finally, what advice would you give to someone who wants to get involved in the music industry but doesn’t know where to start?
Caroline Mongillo: The first step is figuring out which avenue of the music industry you’re actually interested in. It’s a huge umbrella. Whether that’s artist management, agency work, event promotion, performing, producing, or even behind-the-scenes production like stage design. There are so many paths, so it really starts with understanding what excites you and where your strengths naturally align.
Ask yourself: what gives you energy? What part of the experience draws you in? For some people, it might be building out a stage or working on production for a week straight. For others, it’s developing artists or being part of the creative process. Once you identify that lane, the most important thing you can do is just start.
One of the best ways to break in is by connecting with people who are already doing what you’re interested in. Social media is an incredible tool for that. Reach out, introduce yourself, and be genuine! Something as simple as saying, “I really admire what you do and would love to learn more if you ever have time to chat,” can go a long way.
Not everyone will respond, and that’s completely normal. But some people will! And those conversations can open doors you didn’t even know existed.
At the end of the day, this industry runs on relationships. It might sound like a cliché, but who you know really does matter. Every connection has the potential to lead to another opportunity, another introduction, or a new perspective.
Of course, doing your own research and learning the technical side is important, but putting yourself out there, starting conversations, and building genuine connections is what really gets you in the room. And once you’re in those rooms, that’s where everything starts to happen.
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