Today we’d like to introduce you to Brandon Flowers
Hi Brandon, can you start by introducing yourself? We’d love to learn more about how you got to where you are today?
Entertainment has been a huge part of my life for as long as I can remember. My mom would cook while I was in the kitchen, and we’d pretend like we were at Showtime at the Apollo—singing, dancing, and even booing each other if we forgot the words.
Being born in Memphis in the late ‘80s, entertainment was in my living room and right outside my door. However, my earliest memories of the real entertainment industry wouldn’t come until the mid-‘90s—watching Memphis Wrestling live! It was a full show, inside and out, a performance so immersive that I couldn’t tell if it was real or not. It was a thrill ride that the whole crowd and I were a part of. Watching the wrestling industry grow from what it once was to filling arenas night after night, city after city, was inspiring. People were sold on these characters and storylines, and I knew from a young age that I’d be part of something on that scale and magnitude.
In the late ‘90s, music was everywhere in Memphis—it was woven into the very fabric of the city. 8Ball & MJG were just a stone’s throw away. Playa Fly and Tommy Wright III were right there, too. I don’t even remember how I first heard Memphis music—it was just always playing. Whether it was my brother or my cousins, they kept it strictly Memphis. And I can’t forget about Three 6 Mafia, who were laying a musical foundation that couldn’t be replicated at the time.
One day, I remember everyone in my neighborhood gathering around a car, listening to the radio. “It’s the Roll Call! It’s the Roll Call!” Stan Bell had this segment where people could call in and freestyle, and mane, did they rep the city! It was mesmerizing to see people moved by lyrics that celebrated Memphis. It gave people hope, and I wanted to be able to give that same feeling to others. But at the time, I still didn’t believe I could rap like the artists I admired.
I wouldn’t tap into that potential until the early 2000s when an English teacher at Whitehaven High School introduced me to storytelling and poetry. I never paid attention in her class—I always had my Walkman on, with Playa Fly’s Movin’ On album on repeat. One day, she confiscated it and decided to teach me a real lesson. After school, she caught me and asked what I wanted to be in life. “A rapper,” I blurted out before I even had a clear thought. She told me that was exactly why I should be paying attention in her class.
Being naïve, I told her, “I already know how to read and write.”
She challenged me: “Write me a three-page story with a poem to go with it.”
I was like, Bet!
Mane, it took me two months, and when I finally turned it in, she gave me an F. I won’t lie—I was lost the whole time writing it. I lacked imagination, I didn’t know how to build a story, and I had no clue what character development was. And the poem? It was just a rap I had written—it had nothing to do with the story! She told me that if I paid attention in her class, she’d help me with storytelling and poetry. The whole time, I just wanted my damn Walkman back—that was my brother’s Playa Fly CD!
So, I started paying attention, and she kept her promise. By the end of the year, my vocabulary had grown, and with it, my imagination. That’s when it clicked—I was learning how to entertain.
I always knew I wasn’t going to college because I hated school. But I also knew I didn’t need school to run a business. During the summers, I worked at Pressure World, a car wash in South Memphis that catered to Memphis stars and D-boys. That job introduced me to most of my hometown heroes. I spent my summers making money washing cars and cleaning rims. My hands were pruned, and I was soaking wet every day, but you couldn’t keep me from that place.
It was the early 2000s, and rap music—and the car game—was at an all-time high in Memphis. One minute, I’d be cleaning a Porsche; the next, a Corvette or a Hummer on 22s. It felt like I was living in a rap video every day. Rappers, half-naked women—it was a wild scene. I didn’t care what my friends were doing—I was going to work.
After two summers, I knew I’d be my own businessman. Big Wayne and his brother Mike ran Pressure World, and they kept me within arm’s reach, always giving me game—guidance and motivation every day. They were childhood friends with my mom, so the love they showed me was abundant. At one point, I had cleaned and detailed almost every Memphis rapper’s or basketball player’s car—or at least, it felt like it. But when those summers ended, it was like being snapped back to reality, and I hated that feeling.
Eventually, I graduated high school and moved out, determined to become the next big thing in the entertainment industry. In 2008, my childhood friend and I dropped our first mixtape, Block Stars. Mane, I wish I had that CD now. We only pressed about 200 copies, giving them out at gas stations and taking donations for the mixtape. We recorded most of it in a bathroom and the rest in a closet. I really wish I could hear it again lol.
Eventually, we got better and continued dropping quality music. Then, the big boom happened—everything went digital. It took us a while to adapt, and we lost countless songs due to computer viruses. It seemed like every time we got a computer and downloaded software, it would get a virus.
But somehow, we made it through. It took a lot of trial and error, but we eventually founded our own company—Number One Entertainment!
I’m sure it wasn’t obstacle-free, but would you say the journey has been fairly smooth so far?
“Two roads diverged in a wood, and I—
I took the one less traveled by,
And that has made all the difference.”
That’s one of my favorite quotes.
Being independent in the entertainment industry has cost us financially, but we call that paying tuition. I wouldn’t have it any other way because we learned who we were before the fame and money came into our lives. Most artists never get that understanding—they get caught up in the flashing lights and stardom too fast. We didn’t have to sell any music or publishing to make it, and that’s what makes the hard times worth it.
Can you tell our readers more about what you do and what you think sets you apart from others?
Number One Entertainment LLC specializes in artist management, music production, and brand development. Focused on hip hop/R&B, the company nurtures talent, creates inspiring content, and explores ventures in fashion and film. With a global vision, it aims to build a lasting legacy in entertainment and creativity.
Being able to structure a distribution deal with Universal Music Group, positioning the label for global market expansion.
We take the time to figure out who our artist are because we want your vision out there. We want you at your best and you’re not your best until you’re Number 1!
How do you define success?
When I was young, I thought success was all about financial status—like if I made a certain amount of money, I had made it. But after years in the industry, I’ve learned that success is really about overcoming any obstacle in my way. Some days feel like a win, and some don’t—but every challenge is part of the journey.
Pricing:
- Career Consultation $100/hr
- Artist Features (BBar, Enzo, Tre) $500-$1,500
- Artist Development & Management $2,500-$5,000
- Custom songwriting $500-$3,500
- Ghostwriting (no credit given to writer)25%-50% higher than standard writing fees.
Contact Info:
- Instagram: https://www.instagram.com/bbar_noe?igsh=MWl0eTNtaXF5ZjN5dQ%3D%3D&utm_source=qr
- Youtube: https://youtube.com/@numberoneentertainment-lx1pc?si=uBwkckfvT3hHDMzq
