For 16 years, Tiny Desk has been a rite of passage for artists, showcasing raw, intimate performances from rising acts to legends. North Texas musicians such as Leon Bridges, Charley Crockett and Erykah Badu have proven that local talent shines even in the smallest spaces. With over 1,200 performances since 2008, the series proves that sometimes, less really is more.
Just look at Dezi 5. The pop/R&B artist has been in the industry for over 10 years, constantly scaling up, pushing boundaries and refining his craft. Now, he’s producing one of the biggest entertainment shows Dallas has ever seen with the yearly Dallas Entertainment Awards. He’s doing it all with intention — not just chasing the next big thing, but creating something meaningful.
"For this performance, I knew I needed two piano players — just like in church, where you have one on the organ and another on the piano," he says of his Tiny Desk submission. "One person alone couldn’t capture that full sound, especially in a recording. The same went for my background singers. I needed them to bring the depth and richness the song deserved. Dana Harper — who's an absolute boss — helped me arrange the vocals, smoothing out the rough edges and elevating the entire performance. I wasn’t just trying to put on a show; I wanted to create something that truly honored the sound and energy of the original recording."
Both Dezi and Cure for Paranoia's Cameron McCloud invited Harper to perform in their Tiny Desk submissions, knowing her voice would provide strong support and elevate the artistry.
Rather than stripping things down, Dezi made sure his performance reflected the full depth of his music while staying true to the essence of his sound.
Calling the Energy Back in
Tiny Desk submissions, stripped-down performances and intimate concerts force artists to reconnect with their music and themselves. There’s no elaborate production or screaming crowds; it's all story, no glamour. "It’s the equivalent of, like, a rapper that can rap really fast and rhyme a lot of words really quickly," says Cameron McCloud from Cure for Paranoia. "But it’s like, what am I taking from this? Like, what are you saying? You know, I mean, there has to be a mirror, like a bridge, to get from point A to point B. Like, if point A is you’re a good rapper and you can rap really fast, how are you going to get to me? Point B? How is that going to come across to me?"
McCloud has submitted to Tiny Desk for three years. The first time, Cure for Paranoia earned a spot on the Houston leg of the Tiny Desk tour, where they delivered a standout performance that many thought was the show's finale. After the show, a Tiny Desk representative told him not to worry; the current winner had taken five submissions to finally break through and win it all. This year, McCloud approached things differently.
"This time, I went with more of a ballad — an anthem that explains who I am and what Cure for Paranoia is all about," he says. "I started with my main band and then invited a couple of my friends who I knew would take it to another level."
That shift in strategy speaks to what makes Tiny Desk so special. It’s not just about proving you can perform but about revealing something that resonates with audiences. At the heart of what artists do, it’s always been about connection — not just with an audience, but with themselves and the material. Tiny Desk submissions can also serve as more than a chance at getting on the NPR series.
“Every year, we do this last minute," says musician Ravs. "This time, I want to focus on creating something long-lasting — an EP that stands on its own, not just a Tiny Desk submission.”
Rather than rushing to complete a submission, she used the opportunity to create a much bigger work.
"We didn’t just record the Tiny Desk; we recorded my entire EP, which is coming out in 2026," the artist says. "This project isn’t just about fitting into industry expectations. A lot of producers have told me that live music doesn’t translate well for headphones anymore, but that’s never been my vision. I’ve always heard my music with that big, live-band sound, and that’s exactly what I’m bringing to life with this EP." This shift in mindset is exactly what the industry needs — artists prioritizing their craft, their sound and their long-term vision over fleeting moments of recognition. Legacy artists seem to never lose sight of why they started in the first place.
For artists looking to join the Tiny Desk legacy, the submission process is refreshingly simple but highly competitive. Each year, NPR opens the contest for a limited time, inviting unsigned musicians to submit a video performance of an original song, recorded live in front of a desk — any desk. The goal is to capture the spirit of Tiny Desk: an intimate, stripped-down performance that puts artistry front and center.
Judges — including NPR Music staff and industry professionals — evaluate entries based on originality, musical quality and the ability to connect emotionally. Past winners, such as Tank and the Bangas and Gaelynn Lea, have gone on to national tours and gained widespread recognition.
For artists like Dezi, McCloud and Ravs, the process is just as valuable as the outcome. It’s an opportunity to refine their vision, rethink their sound and create something that lasts beyond the contest.
