William Zabaleta — Official EPK | The Yeti Show

William Zabaleta EPK

Executive Director @ J Street Entertainment • Producer & Publisher • Host of The Yeti Show • Former manager to Beatles legend Geoff Emerick

Artist GrowthA&RMusic PRPodcastingContent Automation

📩 Email 🌐 Linktree 🎧 The Yeti Show 𝕏 @The_yetishow IG @the_yetishow IG @billythekid310

About

William “Billy” Zabaleta is a music executive and creative operator who blends traditional artist development with modern distribution and media. His day-to-day toggles between the studio, the pitch deck, and the dashboard: producing and publishing songs, negotiating releases, shaping campaigns, and building the content pipelines that feed discovery on platforms like Spotify, YouTube, Instagram, and TikTok. Zabaleta serves as Executive Director at J Street Entertainment, where he partners with artists on sustainable catalog growth. He became publicly known for his close work with four-time GRAMMY-winning Beatles recording engineer Geoff Emerick, which placed him in major music-press coverage and inside conversations about how classic records inform modern craft.

As a producer and publisher, Zabaleta treats the record as the product, the story as the packaging, and the content machine as distribution. He favors small, decisive teams; precise metadata; and a release calendar that marries editorial moments with algorithmic momentum. As the creator and host of The Yeti Show, he translates that sensibility to audiences—bridging process with taste and turning discovery into community.

Career Narrative

Zabaleta’s entertainment career is a sequence of increasingly integrated roles. He began as an advocate for artists—lining up meetings, placing calls, and learning how songs move from “promising” to “signed” to “shipped.” That proximity to negotiations taught him a core lesson: momentum is engineered. There is no single breakthrough; there is a chain of small, visible wins. The way to build that chain is to control the assets (masters, artwork, stems, credits), compress the time between decisions, and keep the story public.

That outlook pulled him toward production and publishing. If the difference between “interest” and “impact” is how fast a team can deliver a master the market recognizes, then being in the room where arrangement, sound selection, and session leadership happen is a strategic edge. Zabaleta built muscle memory for running tight sessions: get the right players, commit to sounds early, print effects when appropriate, document everything, and name tracks like a librarian. He treats sessions like tiny companies: each track has a job; if it doesn’t pull weight, it gets cut.

In parallel, he learned release mechanics at a granular level. Distribution isn’t “upload a file.” It’s pre-save targeting, image ratios, UPC/ISRC hygiene, lyric timing, editorial pitch positioning, and a tree of derivative assets that can be scheduled like a newsroom: teaser, trailer, behind-the-scenes, performance clip, review, duet, breakdown, meme. A Zabaleta calendar reads like a tour itinerary for content. Monday might be the audio snip and caption test; Tuesday the reel; Wednesday the 60-second breakdown; Thursday an influencer stitch; Friday the full premiere and artist Q&A. Every surface—profile, bio, highlights, description—points back to the record with consistent CTAs.

Those habits scaled when he stepped into leadership at J Street Entertainment. The mandate: help artists build catalogs that can survive platform volatility. That means thinking in arcs, not one-offs—five or six releases that ladder into an identity, supported by an editorial machine that explains, contextualizes, and celebrates. It also means financial discipline. Zabaleta is known for “creative-constraint budgets”—spend where listeners notice (artwork, mixing, mastering, targeted boosts), trim where they won’t (over-engineered props), and always leave room to iterate once data arrives.

To keep perspective, Zabaleta built a public-facing project as a forcing function: The Yeti Show. It began as bite-size posts with a clean neon aesthetic and grew into a podcast that invites artists and makers to talk shop. The tone is curious, punchy, and respectful—technical without gatekeeping, funny without cynicism. Long-form episodes feed short clips for TikTok/Shorts, reinforcing a “publish once, distribute many” loop that underpins his release philosophy.

Credits continued in parallel. As an artist, Zabaleta appears on the track Jordyn Woods. On the production/publishing side, he has steered releases like the album embedded below (Spotify album), executing deliverable checklists, split sheets, publishing registrations, and press angles that connect a record’s sonic DNA to a recognizable narrative.

Another through-line is stewardship of legacy. Zabaleta believes modern producers benefit from decisions that made classic records timeless: move the mic an inch before moving EQ a decibel; commit to tone in the room; leave air for the performance. That belief was affirmed through his work with Geoff Emerick. Helping a legend communicate with a new generation requires logistics, advocacy, and translation—protecting standards and turning “how we cut the drums on Revolver” into guidance for an artist chasing a modern hit.

Today, the work looks like a triangle: artist services and leadership at J Street; public storytelling and discovery through The Yeti Show; and hands-on studio and release execution as a producer/publisher. Each corner feeds the others. Studio insights become Yeti episodes. Episodes build community. Community returns data and talent. Data sharpens development choices, which produce better records and better stories. It’s a cycle Zabaleta intends to run for decades.

With Geoff Emerick

When fans think of the Beatles’ recorded sound, they hear a vocabulary Emerick helped write: intimate vocals that feel larger than life, present drums, fearless tape manipulation. Working with Emerick gave Zabaleta an inside education in technique and professional ethics—set a standard, keep the day moving, protect the artist so the art can speak. Public reporting identified Zabaleta as Emerick’s manager at the time of his passing in 2018, and major outlets quoted his statement. Behind those headlines was ordinary hard work—advancing appearances, coordinating with studios and media, developing masterclass concepts, and managing the flow so Emerick could focus on what only he could do.

J Street Entertainment

As Executive Director at J Street Entertainment, Zabaleta translates identity into roadmaps, aligns teams, and ships work that feels inevitable in hindsight. A typical cycle begins with a creative sprint to lock an EP’s palette, a pre-production sprint to book players and rooms, and a 10-week plan that ladders singles into a body of work. Each phase is documented, deadline-driven, and guided by a simple question: what would make a new listener care today?

Partnerships matter. Zabaleta maintains relationships with mixers, mastering engineers, shooters, and platform reps. He keeps teams lean and expert, trusts data without letting it run the room, and pivots quickly when early metrics stall—rewrite the hook, change the aspect ratio, swap the thumbnail. Metrics inform choices; taste decides.

The Yeti Show

The Yeti Show is a public lab: part review engine, part interview series, part culture diary. The goal is to entertain while moving audiences toward records. Episodes are designed to yield multiple assets—hooks for shorts, scorecards, and behind-the-scenes posts that feed discovery. When the show features new music, Zabaleta discloses his role where relevant and centers craft: arrangement, vocal production, drum programming, and the administrative work (splits, registrations, clearances) professionals respect.

Producer & Publisher — Process

Production begins with language. Before microphones, Zabaleta wants a sentence that explains the song’s job. That sentence informs tempo, key, and arrangement. Drums are designed against the vocal; bass earns its space by making the kick smarter; guitars and keys answer the hook without stealing focus. He prefers committing to tones in the room and uses processing for glue and excitement, not rescue.

Publishing treats songs like startup products. Minimum viable versions are tested fast. Each release gets an “asset tree”: master, clean, instrumental, TV, stems; 4–6 thumbnails; vertical, square, and 16:9 teasers; lyric/canvas assets; a caption bank. Metadata is checked internally, at distributor handoff, and at go-live. If any detail changes—feature, mix, artwork—the entire tree updates so the internet never fights itself with competing versions.

Collaboration is constant. Zabaleta’s sessions invite honest notes and fast decisions. The point is the record. He argues for what serves it and abandons anything that doesn’t. Delivery is ceremonial: version-controlled folders, split PDFs, cue sheets, and a single page that tells each teammate exactly where to click.

Technology & Automation

Zabaleta uses automation to remove friction, not personality. Scheduling and repurposing are automated; listening and responding are human. Project templates, standardized folder trees, caption banks, and lightweight scripts generate links and UTM codes. Weekly check-ins evaluate conversion to streams, saves vs. follows, and the cost of the next thousand listeners. Any asset that can’t explain its job doesn’t run next week.

Portability matters. Platforms change; catalogs endure. Everything is backed up. Rights are documented. Alternate distribution options stay warmed up so no artist’s path is tied to a single portal. Audiences are protected from fatigue—some moments just need to be good. The algorithm is an amplifier, not a compass; taste is the compass.

Vision & Roadmap

The next chapter doubles down on three promises: publish excellent records, tell their stories clearly, and make it easier for new listeners to become long-term fans. Practically, that means singles aligned to cultural moments, behind-the-scenes content that respects craft, and live-ish experiences—studio drop-ins, AMAs, curated listening rooms. It also means nurturing a small roster of collaborators who share a bias for action. The roadmap is simple: ship monthly, learn weekly, improve daily.

As The Yeti Show audience grows, it functions as both platform and proving ground. Artists who resonate with the community have a path into co-releases, remixes, and special sessions. The goal isn’t to become a label in the old sense; it’s to be a reliable engine for creative momentum—an ecosystem where good songs reach the right ears faster and where the story is as thoughtfully made as the record.