Not much can be found on social media about Social House, despite what the name suggests, and this lends to the reclusive, humble nature of the duo: Pittsburgh natives Michael "Mikey" Foster and Charles "Scootie" Anderson. As well-known writers and producers, Mikey & Scootie have written tracks for major musicians such as Ariana Grande and Jennifer Lopez—including JLo’s recent “Dinero” featuring Cardi B and DJ Khaled. However, the two would much rather be known for being normal and human. As Scootie says, “We’re human, but that’s what makes us so fucking cool.”
Scootie grew up following his musical sister around, singing whatever she would sing. This eventually led to writing and producing his own music from an early age. Mikey, heavily influenced by his mother’s musical taste, explained that music’s ability to act as a language is what first interested him in a music career. “At the time, production, for me, felt like it was the only way I could talk—I was very quiet because I was going through a lot of things in my life and I felt like I could speak through music.” Mikey started producing around the age of 18 and found that “I was able to show my emotions in music in ways I couldn’t in regular life.”
This new form of communication became a passion for Mikey, and while teaching himself to produce, he found a desire to go where the “fire” was. A move to Los Angeles - home to many of the mix engineers, artists, and producers Mikey was influenced by - led him to encounter acclaimed, multi-platinum selling producer Tommy Brown. Brown heard one of Scootie’s tracks being mixed by a mutual friend, quickly flew out the second half of Social House, and after a week asked them to stay.
Mikey and Scootie have lived with Brown and other writer-producer musical hybrids in communal creative houses. These houses, equipped with studios and full of artists, create a highly creatively engaged space—hence the group’s stage name. The pair became Social House immediately after making a track together at their communal home, aiming to create something for themselves rather than write for others. Despite having a yin-yang relationship regarding musical influences, Scootie’s R&B, hip hop, rap, jazz, country and punk rock blends seamlessly with Mikey’s influences, ranging from Tina Turner to reggae to classic rock.
As they relate the story, Scootie explains that “we made this song and we were like, yo, this song is so fucking crazy we can’t…” and Mikey excitedly finishes “We can’t give it away!”
“So we tried to hide it, we hid it for a couple hours and then was like yo, get out here we gotta show it,” Scootie states. Once the two played the track for Brown, he pushed them to pursue this musical project as a group and Social House was born.
Many of their new songs range from a dark, urban feel to light, airy and rhythmic pop to exclusively rock and roll. The two describe it as a “natural flow of growth”, demonstrating an evolution of their own genre, as Mikey explains. Similarly sophisticated is Social House’s lyrical content, often multifaceted and complex, “We try to write songs that are on the surface about one thing, but have multiple layers underneath we can’t wait to reveal to people about the songs. So, some of our songs have riddles…things we want people to figure out.”
The duo’s creative communal living situation combined with their healthy, vegan lifestyle is well portrayed in the feel-good, rhythmic aspect of their music, particularly their debut single. “Magic in the Hamptons ft. Lil Yatchy” (Silent Records/Interscope) is infused with their fresh and lighthearted pop–rhythmic hybrid. Equally present are their diverse musical influences found in their innovative production style.
Both musicians describe family, especially close members with health problems, as their biggest motivation when it comes to songwriting and production. Mikey describes this motivation as wanting “to make a better universe for my family and even for my family tree that I’ll grow,” while also describing that a common language remains the main focus in their music, specifically “a coexistence, we’re all the same…everybody’s on an even playing field to us.”
Despite all the success and the highly sophisticated production and content of Social House’s songs, what is the main take away the two hope listeners gain from their music? Something very true and authentic to their lifestyles, identities and motivations: “We go through the same shit, we’re humans.”