• Facebook
  • Twitter
  • YouTube
  • Instagram
  • Spotify
  • iTunes - Grey Circle




“The only thing that truly matters is we were sent here for a purpose,” says Timothy Bloom. “And my purpose is to do music.” It’s a common refrain delivered with uncommon conviction — there’s a weight to the alternative soul star’s words. When Timothy Bloom says something, he means it. 


A two-time GRAMMY Award-winning producer and songwriter whom Simone Amelia Jordan (SiriusXM, The Source) calls “an icon in the making,” Bloom is beloved by his peers and collaborators, thanks in no small part to helping them bring their visions to new creative heights. His work with artists ranging from Ne-Yo to Smokey Robinson confirms it.


Now it’s his turn. 


“I can’t just ‘write a song’ anymore,” Bloom confides. “It has to come from a true source.” As the son of preachers who honed his craft playing piano in church, it’s easy to hear the spiritual undertones in Bloom’s reverence for music, but it’s rooted in very earthly consequences. “My music has been a source of healing, of therapy,” Bloom reveals. “My demons, my struggles, these generational curses we harbor — they took a lot of spiritual healing, personal healing.”


Bloom’s forthcoming LP In Full Bloomexplores the gamut of that healing process, from confronting the realities of a far-from-post-racial America to celebrating personal acceptance. Symphonic swells give way to burning guitars as Bloom ebbs and flows through a personal journey he chooses to make very public. It’s not hard to hear some of Bloom’s confessed influences, from Herbie Hancock to Jimi Hendrix to Bob Dylan. But it’s impossible to find another artist who blends them so effortlessly through his own unique filter. 


“Nina Simone said it best,” Bloom says. “She said, ‘You’ve got to create for the times.’ There’s a lot going on in our world but we’re not creating for the times, you know. Everybody wants to party and just drag on. They’re drunk, they’re drugged up, they’re slapping on booties. They’re not creating magic that is, in a sense, going to make the world a better place.”


Bloom has been fortunate to not only see much of the world, but to make music throughout it as well. From his early days in a German boy band to producing music in Brazil and Jamaica. “When I was 15, Motown wanted to sign me, but my dad declined,” Bloom says. “At the time, it created agitation and resentment. When I graduated high school, I moved to Germany to be in the boy band group. I just didn’t care about anything but music at that point in time.” 


When that experience ran its course, Bloom returned to the states, packed up a U-Haul and headed out to Los Angeles, where his tenacity and talent landed him in rooms with mentors who soon became collaborators. As word of Bloom’s prowess made its way through town, he expanded his work and eventually signed to Interscope Records, where he released an EP called The Budding Rose. That collection featured a song called “Til The End Of Time (feat. V),” a song featuring Valerie Bozeman that went viral thanks in part to Bloom’s creative decision to strip down bare for the music video. 


Bloom carried his creative risk-taking into independence with his eponymous full-length debut in 2014, his first Billboardcharting affair. A series of collaborations, film scores, and international experiences have since brought Bloom to his newest album and on the verge of something very powerful. 


“This record wasn’t just made for me,” Bloom reveals. “We’re all going through some really interesting personal challenges, and just like you might hire somebody to come in and clean your house, this record is meant to come in and cleanse the hearts and minds. People who are happy, sad, struggling — wherever you are. There’s a oneness in this music."