Spotify this, Spotify that. It’s all we ever talk about. But we forget that tens of millions of listeners use Apple Music. It’s the second biggest streaming platform in the world, so we indie musicians shouldn’t ignore it. That’s why in this article, we’ll walk through how to optimize your Apple Music artist page.

Why Focus On Your Apple Music Artist Page

As of Q1 2023, Apple Music had 32.6 million subscribers (and probably more as of this writing). Plus, Apple Music pays artists better than Spotify per stream. So if you’re not paying any attention to your Apple Music Artist Page, you’re missing an opportunity to meet listeners where they are.

Your artist page should pull listeners in and help them get to know you better. It could increase the likelihood that they move from casual listeners to super fans.

Claim Your Apple Music Artist Page

The first step is to get access to the Apple Music artist dashboard. To do this, you need to claim your artist page. But before you claim your profile, your music has to have been live on Apple Music for at least 5 business days.

Apple has to “verify your identity or relationship to the artist or band,” so they advise you to give them as much info as possible. This includes sharing info on your digital distributor, your website, and your social media accounts.

Here are the steps to claim your artist page via the web:

1. Log in to or sign up for Apple Music for Artists
2. Click “Request Artist Access”
3. In the search bar, copy/paste your iTunes Store artist page link, or type in your artist name or the name of your release in the search bar to find yourself
4. Select one of your albums to make sure you’re claiming the right page (must be the primary artist)
5. Choose your role (Artist) then fill out the application

This process will go faster if you sign into your social media accounts and digital distributor account(s). The more info you give Apple, the faster they can verify it’s you.

How do I grant other people access to Apple Music for Artists?

Once you’ve claimed your Apple Music for Artists page, you can give your team members (like your manager or band member) access to update it.

To grant access to other team members, first download and log in to the Apple Music for Artists app (iPhone only). Then:

1. Tap and hold your artist icon
2. Tap Account
3. Scroll down to Users and click Invite User
4. Fill in their info and assign them a role(s)
5. Tap Invite

Personalize Your Artist Page

Once you’ve claimed your artist page and been approved by Apple, you can start customizing your page. To edit all of this info, go to the Artist Content page at the top then click the Artist Profile tab next to your artist name.

Here are the main aspects to focus on…

Add an artist image

The preferred dimensions of your artist image are 2400 x 2400 pixels or greater, 800 x 800 pixels minimum. You can see Apple Music’s full guidelines here.

Fill out the About and Biography sections

How do you get an About page on Apple Music? Well, the About section on your Apple Music artist page is limited to basic info (genre, birthdate, other names you have, hometown) as well as your answers to Apple Music’s predetermined questions. Then the Biography section will be filled with your Q&A answers.

Add Q&As

Answer as many questions as you can (these will appear in the Biography section). This is a chance for listeners to get to know you, so don’t be afraid to open up.

List band members, collaborators, and influences

Have you collaborated with any artists? Make sure to add them in this section. Then list your musical influences, giving the listener more context for why your music sounds the way it does.

Add Your Lyrics

A really cool and convenient feature of Apple Music is that you can directly add your lyrics. In contrast, if you want to get your lyrics on Spotify, you have to use Musixmatch and wait for it to be delivered. (However, Musixmatch offers a time-sync feature while Apple only offers this “at Apple’s editorial discretion”).

To add your lyrics to Apple Music, go to the “Music and Videos” tab next to your artist name. Then hit “+ Lyrics” next to the song to add the lyrics. Check out the guidelines for lyrics here.

List Your Concerts

Apple Music partners with Bandsintown, so any concerts you list with Bandsintown will be viewable by Apple Music listeners.

Your concerts will automatically appear in the Spotlight Search, which lets listeners swipe down on their app’s Home Screen to search for artists, songs, or shows. Your concerts can also show up in Apple Music Guides and Set Lists.

Add Team Members

You may have a team that you want to grant access to your Apple Music, like a manager or band member.

To add team members, download and login to the Apple Music for Artists app (iPhone only), then:

1. Tap and hold your artist icon
2. Tap Account
3. Scroll down to Users and click Invite User
4. Fill in their info and assign them a role(s)
5. Tap Invite

Promote Your Music

Apple Music doesn’t have a way to promote your music directly to Apple Music listeners – like Spotify does with Showcases and Marquees.

But they have a page that lets you create “promotional assets” that you can download and share on social media. They’re basically cool-looking images with your artist name, release title, the Apple logo, and “Listen now” in big letters.

Make Sure You’re On Shazam

In case you don’t already know, Shazam is an app that listens to and identifies a song. Apple owns it, so when you use it, it pulls up the identified song on Apple Music.

To get your music on Shazam, just use any Apple-approved distributor and they’ll deliver your music to both Apple Music and Shazam. After your song has been released, you can verify it has reached Shazam by going to the web version and searching for the song or your artist name.

Final Thoughts

In a music industry that is so focused on Spotify, don’t forget to give your Apple Music artist page some love. Claim your artist page, personalize it, add your lyrics, list your concerts, and answer Apple’s Q&A’s. This will make sure you don’t alienate your fans who exclusively use Apple Music.

Photo credit: Techivation

To many indie artists, mastering music seems like a magical process. So let’s break down what mastering actually is, why it’s important, and whether or not you should learn how to do it.

What Is Mastering Music?

Mastering music is the last step you need to take before releasing your song to the world. The most noticeable thing about a mastered track is that it’s louder than its unmastered version. But there’s a lot more that goes into the mastering process.

At its core, mastering is about carefully and intentionally boosting the loudness of the track while maintaining the sonic components of the original stereo mix. During mastering, you must also ensure the track sounds good regardless of how someone might listen to it.

This whole process involves compression, equalization, limiting, stereo enhancement, and any other tools the mastering engineer may decide to use based on the end goal.

The term “mastering” comes from the concept of a master copy. Every duplicate or reproduction of the audio comes from this master, and the mastering process ensures that these duplicates can be flawlessly played back wherever.

In the context of an album, mastering helps maintain a consistent and cohesive sonic landscape across all the album’s tracks.

Mastering vs. mixing

How is mastering different from mixing?

Mixing music is about getting all the individual instruments (channels) in a song to blend well together. And mastering music involves taking the final mix that has been bounced to a lossless audio file and making sure it’s ready to compete with all of the other professionally mixed and mastered songs on streaming platforms.

Is Mastering Music Necessary?

If you want your song to sound as good as it can and if you want to release it on streaming platforms, yes. Mastering your track is a must.

A master cannot fix bad production or a bad mix. But if your production and mix are as good as possible, mastering takes the track from amateur to pro-level. A well-done master on a well-mixed and well-produced song will sound so much better than an unmastered track.

Plus, Spotify will normalize the loudness of your track. So if you deliver an unmastered track to Spotify, their loudness normalizing may ruin the track. And what people hear will probably end up sounding like trash.

The expert engineers at Sound On Sound say mastering is a must.

“A good mastering engineer will know how to hit the ‘sweet spot’ where your tracks are exactly loud enough to sound at their best on Spotify or YouTube without getting turned down,” writes Sam Inglis, veteran recording engineer and producer.

“…A human mastering engineer is a safety net,” he continues. “They are a fresh pair of ears who can listen to your music on a really good reference monitoring system, identify potential problems with it, and help you get your project ready for release.”

What a mastered song sounds like

I want you to hear the importance of a good master. So below you can listen to the unmastered version of one of my songs next to the mastered version (mastered by John Behrens).

Should You Learn To Master Music?

Every song you hear on Spotify or Apple Music is mastered (some of them done well, some not so much). We’ve talked about the importance of good mastering. You’ve heard the difference between an unmastered track and a professionally mastered track.

The keywords here are “well” and “good.” A master can’t fix a bad production and mix, but you can definitely ruin a good production and mix with a bad master.

So should you even learn to master music? Or should you outsource this step to the professionals?

Any time you learn something new, there is a learning curve. You’re going to suck at it in the beginning. For example, I learned how to start mixing by mixing one of my albums…it’s no longer available anywhere because I realized it stunk.

So if you have the money, I suggest hiring a good mastering engineer.

But if you don’t have much of a budget, it may be worth developing the skill and art of mastering. You have some affordable options, including learning on your own (see below). The thing is, if you’re going to learn how to master music, give yourself plenty of behind-the-scenes practice before you release a track that you’ve mastered.

Finding a Mastering Engineer

If you’ve got the budget to pay a mastering engineer, you’ll want to make sure you’re using someone who knows their stuff.

The two best ways to find a good mastering engineer are 1) find a musician who makes similar music to you and ask them who mastered their music (or check the song credits) or 2) use a website like SoundBetter or Fiverr to find mastering engineers who work in your genre.

Using A.I. Services To Master Your Music

Companies have been offering A.I. mastering services for years. The most notable ones are LANDR, eMastered, and Aria Mastering.

With each of these services, you upload your fully mixed track, set some parameters, and they’ll master it for you. And you can usually hear a sample clip of the mastered version before you make your final decision to download and pay.

The Best Plugins for Mastering Music

If you don’t want to master your track from scratch, there are plugins that can give you a starting point, or just master the song for you.

The best option I’ve seen is Ozone from iZotope, a plugin you put on your master track. You can start with one of the many, many presets or you can let the A.I. feature master the track for you. In either case, you can make your own edits afterward.

Mastering Music Summary

What is mastering vs mixing?

Mixing involves making all the individual instruments (channels) in a song blend well together. Mastering music involves taking the final mix, making it louder, shaping the sound, and making sure it’s loud enough to be streamed on streaming platforms.

Do you need to master your music?

Yes, to get the best possible final recording you should master your music. You’ll also want your music to be at a similar loudness level to everything else on streaming platforms (i.e. what listeners are used to).

How much does it cost to master a song?

How much it costs to get a good master varies, but you can expect to pay between $50-100 per song. Any less than $50 and you should be wary of the quality. If you pay $200 or more, make sure the engineer is worth the money and has the portfolio to back it up.

Can you master a song yourself?

Technically, yes. But any time you learn a new skill, there will be a learning curve. Nowadays, there are plugins that can assist you in mastering your track. Whatever you do, make sure you compare your master to a track that has been professionally produced, mixed, and mastered.

Indie artists like you and I are always looking for ways to get our music in front of new people. Sometimes we can do that organically. But sometimes we have to pay. And Spotify Marquee is another way to spend some money for exposure to new listeners.

What Is Spotify Marquee?

Spotify Marquee is “a full-screen, sponsored recommendation” for your new release. It’s a pop-up ad that Spotify will show to listeners who are likely to enjoy your music, both new and existing listeners. When a listener clicks on your Marquee, it takes them to the release.

How is Marquee different from Spotify Showcase?

Well first, Marquee is an ad that pops up on a listener’s home screen that they have to hit “Dismiss” to get past, while Showcase is a banner that appears on a listener’s home screen on the app.

Also, Marquee is only for new releases (released in the past 18 days or fewer) while Showcase is for any of your releases (older than 18 days). The ad will run for 10 days or until your budget is spent, whichever comes first.

Spotify Marquee Real-World Results

Let’s look at some real-world results to figure out if Marquee is worth your money.

Band Builder Academy looked at the Marquee results for the artist Loveless. The target audience was Spotify’s default targeting, which is defined as “listeners who are most likely to stream your release after seeing the recommendation.”

Loveless did three Marquee campaigns – two singles and an album.

Spending a total of $650, here are the average stats between the two singles campaigns…

• Reach: 3,386
• Clicks: 720
• Converted listeners: 773
• Conversion rate: 22.63%
• Streams per listener: 4.82
• Intent rate: 31.60%
• Playlist adds: 139
• Saves: 246

And here are the stats on Loveless’ $250 album campaign…

• Reach: 1,617
• Clicks: 509
• Converted listeners: 761
• Conversion rate: 47.06%
• Streams per listener: 33.57
• Intent rate: 47.17%
• Playlist adds: 1,058
• Saves: 2,507

Next, let’s look at indie artist Andrew Southworth’s Marquee results. He ran a $750 campaign for one of his songs…

• Reach: 8,375
• Clicks: 1,549
• Converted listeners: 1,136
• Conversion rate: 13.57%
• Streams per listener: 5.3
• Intent rate: 33.1%
• Playlist adds: 250

Lastly,  let’s look at my Marquee campaign results. I spent $88.92 on one of my songs…

• Reach: 2,122
• Clicks: 234
• Converted listeners: 144
• Conversion rate: 6.74%
• Streams per listener: 1.38
• Intent rate: 11.11%
• Playlist adds: 3

Is Spotify Marquee Worth It?

Just like Spotify Showcase (and with any advertising to drive streaming), you can’t expect Marquee to have an immediate ROI.

It’s not about getting your ad money back in streaming revenue. It’s about building your following on Spotify and therefore increasing your exposure to new listeners. From there, the idea is that your streaming reach snowballs via Spotify’s algorithm, gradually growing your audience.

So is Spotify Marquee worth it?

If you view it as a way to invest in your long-term career growth, yes. If you have room in your marketing budget for it, yes.

In my opinion, your money should first go toward making the best music you possibly can. If you have anything left, that should go to marketing. And if you have $100 available to drop for your new release, I would say it’s worth trying Marquee. When the campaign concludes, you can decide if its impact was great enough that you would run another Marquee.

Spotify Marquee Requirements and Eligibility

Before we talk about how to set up a Marquee, let’s see if your release is even eligible.

First, you have to be in one of these countries:

• Australia
• Canada
• France
• United Kingdom
• United States

However, your Marquee ad will be targeted to 36 countries (see the full list here).

And here are the artist and release requirements for you to run a Marquee:

• At least 5,000 streams in the last 28 days, OR…
• More than 1,000 followers in at least one of the target markets

How To Set Up a Spotify Marquee

If you want to give Marquee a whirl, here are the steps to get started…

1) In your Spotify for Artists dashboard, go to the Campaigns tab

If you don’t yet have access to your Spotify for Artists page, claim your profile here.

2) Click “Create Campaign” next to your release

All of your eligible releases will appear here along with how many days you have left to run a Marquee campaign. If nothing is there, you don’t have any songs that qualify.

3) Choose your audience targeting

By default, Spotify optimizes your targeting “to reach listeners who are most likely to stream your release after seeing the recommendation.”

But you can also customize your audience. Here are your options…

• Active audience
  • Super listeners: Your most dedicated active listeners in the last 28 days. They are also the most likely to keep streaming your music.
  • Moderate listeners: Active listeners who intentionally streamed your music many times in the last 28 days, and could still develop into super listeners.
  • Light listeners: Active listeners who intentionally streamed your music once or a couple times in the last 28 days, and could develop into moderate listeners.
• Previously active audience
  • Listeners who used to be in your active audience but haven’t intentionally streamed your music in at least 28 days. They may still stream your music from programmed sources.
• Programmed listeners
  • Listeners who only streamed your music from programmed sources like editorial playlists, Discover Weekly, Radio, Autoplay, or playlists by other listeners at least once in the last 2 years.
• Potential listeners
  • Listeners who aren’t currently in your total audience. Based on their listening habits, they may stream your promoted release.

4) Set your budget

The minimum budget is $100. The higher you set your budget, the more people you’ll reach, as shown in the sidebar to the right.

Spotify Marquee FAQs

What is the Marquee mode on Spotify?

Marquee is “a full-screen, sponsored recommendation” for your new release. Basically, it’s a pop-up ad that Spotify shows to listeners who are likely to enjoy your music. When a listener clicks on your Marquee, it takes them to the release. The listener has to hit “Dismiss” to get past the ad.

How do you qualify for Spotify Marquee?

You have to have had at least 5,000 streams in the last 28 days OR have more than 1,000 followers in at least one of the 36 target markets Spotify will show your Marquee to.

Is Marquee Spotify free?

No, Spotify Marquee is an advertising tool with a $100 minimum spend amount.

If you have at least $100 in your marketing budget, you can run a Spotify Showcase campaign….but should you? Let’s talk about what Showcase is, some real-world results, and how you can set up a campaign.

What Is Spotify Showcase?

Spotify Showcase is a promoted banner for your new release. It appears at the top of the Spotify app’s homepage for some listeners. Spotify feeds the promoted release to listeners the algorithm thinks will listen to and enjoy it.

So basically, it’s a targeted ad you can run directly on Spotify.

You can let Spotify use the default audience, which is “listeners who are most likely to stream your release after seeing your campaign,” or you can choose your specified audience. We’ll talk more about the campaign targeting options in the “How To Set Up a Spotify Showcase” section below.

Spotify Showcase Real-World Results

According to Spotify, people who see a Showcase are, on average, six times more likely to stream the release you’re promoting. But that stat feels a little too esoteric. So let’s look at some real-world examples and results.

Indie artist Andrew Southworth ran three $100 Showcase campaigns, one for an album and the other two for two different singles. The album and one of the singles were targeted at United States listeners and the second single was targeted at Brazil listeners.

I want to look at the results from his album campaign, for which he used Spotify’s default targeting (he goes into more detail in the video below)…

Album (U.S. listeners)

People reached: 9,862

Clicks: 289

Converted listeners (people who listened from the Showcase): 173

Active streams per listener: 5.51

Playlist adds: 1

Saves: 249

In addition to these numbers, his Showcase got 10 listeners from his active audience to stream the album for the first time, 5 listeners to rejoin his active audience, and 122 listeners to join his active audience for the first time.

Now let’s look at a $100 Showcase campaign from two indie artists, Thomas Austin and Jon Henry. They ran a Showcase for their single with Spotify’s default U.S. targeting. Here are their results…

Single (U.S. listeners)

People reached: 5,820

Clicks: 262

Converted listeners (people who listened from the Showcase): 180

Active streams per listener: 1.87

Playlist adds: 17

Saves: 35

In addition to these numbers, their Showcase got 9 listeners from their active audience to stream the song for the first time, 14 listeners to rejoin their active audience, and 157 listeners to join their active audience for the first time.

Lastly, let’s look at the $100 Showcase campaign I did for my album. I also targeted only U.S. listeners and used Spotify’s default audience targeting.

Here are my results…

Album (U.S. listeners)

People reached: 8,146

Clicks: 334

Converted listeners (people who listened from the Showcase): 201

Active streams per listener: 6.15

Playlist adds: 53

Saves: 177

In addition to these numbers, my Showcase got 9 listeners from my active audience to stream the album for the first time, 5 listeners to rejoin my active audience, and 187 listeners to join my active audience for the first time.

Spotify also tells me what else my converted listeners did after interacting with my Showcase. It looks like 10 of my converted listeners also streamed my other releases with an average 2.1 streams per listener. It also led to 2 saves of my other releases.

Is Spotify Showcase Worth It?

In my opinion, the most important metrics to focus on are playlist adds and saves. This tells you that the song resonated with the listener so much that they added it to their Liked Songs and/or their personal playlist(s).

And I don’t know about you, but I’m very picky about my personal playlists. They each have a different vibe so I can play a playlist based on how I feel or want to feel. So if you get added to my playlist, I’m going to hear your song a bunch of times and I’m more likely to become your lifelong fan.

Plus, according to Spotify, playlist adds and saves correlate with a 2.5x streaming increase for an artist 6 months later. And who wouldn’t want that?

So for $100, I got…

• 201 people to listen to my album who may not have listened otherwise
• 53 playlist adds
• 177 song saves

I definitely don’t regret running a Showcase campaign. It may not be a regular part of my marketing plan, but it’s a good way to reactivate listeners and get back into people’s algorithms. You can’t expect to make a profit from a Showcase, but you can count on growing your audience.

How To Set Up a Spotify Showcase

From your Spotify for Artists dashboard, go to the Campaigns tab. If you have any music eligible, you’ll see a “Create Campaign” button.

Next, choose what release you want to promote.

Then you get to the campaign details. Choose your target country and campaign start date.

Then choose the headline that will appear above the banner on Spotify – you can’t write your own headline but you can choose from one of Spotify’s pre-determined headlines. They offer different headlines based on the target audience you choose to hopefully engage more listeners.

Before you choose your audience, I suggest checking out Spotify’s tips on how to choose based on your goals.

Keep in mind, the minimum amount you must spend on a Showcase is $100. The campaign will run for 14 days or when your budget is used up, and it starts at $0.40 per click but can vary based on your targeting choices.

The eligibility requirements for running a Showcase campaign are:

• Must be an album, EP, or single (no podcasts, karaoke versions, or soundalikes)
• You must be the main artist
• Can’t promote music with more than 3 main artists
• Only available in Australia, Canada, France, the UK, and the US
• Release artwork needs to comply with Spotify’s advertising Terms and Conditions

Spotify Showcase FAQs

How do I access my Spotify Showcase?

You can access your Spotify Showcase by visiting the Campaigns tab from your Spotify for Artists dashboard. If you have eligible music, you’ll be able to click the “Create Campaign” button to get started.

Is Spotify Showcase free?

No, Spotify Showcase is a targeted ad that is fed to listeners who are likely to stream your music. The minimum you need to spend on a Showcase is $100.

How do you create a Showcase campaign on Spotify?

From your Spotify for Artists dashboard, go to the Campaigns tab. Click the “Create Campaign” button to get started. From there, you’ll choose what release you want to promote, your targeting preferences, the campaign start date, and your budget (minimum $100).

Photo credit: Brandon Hoogenboom

This article is for two types of songwriters: those who have never written a song and those who have only just started and need some guidance. Let’s talk about song structure, the parts of a song, and how you can use them to write.

The Parts of a Song

The main parts of a song are the Intro, Verse, Pre-Chorus/Lift, Chorus, Instrumental Break, Bridge, and Outro. Obviously, not every song needs every one of these parts, but most songs have verses and a chorus (the two most important parts of a song).

Intro

According to Spotify from 2014, about 35% of listeners skip a song in the first 30 seconds. And nearly half of them will skip the song before it’s over. Despite these stats being from many years ago, this trend is probably still somewhat accurate. Our attention spans definitely haven’t gotten better, and the average song length continues to decrease.

The point is, your intro is important. If you want to increase the likelihood that people will keep listening, you need to make it interesting enough for them to stick around.

Verse

Verses present the idea of the song, usually through a story or some other writing method (see “Writing Techniques” below for more).

Verses should always support the main idea of the song. There’s a saying, “Write to your title.” This means all of the verse lyrics should point to, prepare us for, or support in some way the point of the song.

Pre-Chorus/Lift

This is where you prepare the listener for the chorus. It can be a bridge between the verse and chorus, either as a continuation of the verse or an intro to the chorus.

It usually helps build anticipation, often by changing the dynamics so it’s clear when we get to the chorus.

Chorus

The chorus should present the main idea of the song. The takeaway. The message. The big payoff. Ideally, it also has the most memorable melody. It’s the part you want stuck in people’s heads, both the melody and the lyrics. It hooks the listener, which is why it’s often called the Hook.

If you don’t win over the listener by the chorus, then you’ve lost them for good.

Bridge

The bridge is a good way to add a new angle to the big idea of the song. You can use it to expound on the main message, taking the listener deeper into it. You could think of it like another verse with different chords and melody.

“Bridge” and “Tag” are sometimes interchangeable. A tag is a repeating line that usually first appears in the chorus.

Instrumental Break

This usually comes in after the chorus, but you can put it anywhere you like honestly.

Outro

The outro is an opportunity to end the song with a lyric that makes the listener feel like they went on a journey. So you could write a spin on the opening lyric, the hook, or a new line that provides some closure. Alternatively, the outro could just be the tag, or it could be totally instrumental.

The Most Common Song Structures (and Variations)

Everything is recycled from something else. Every new song uses the same chords. Many of your favorite songs use common chords and chord progressions. And most songs follow one of the common song structures.

But this is not a bad thing. This should actually be comforting. We’re all working with the same tools. You have access to the same stuff as your favorite songwriters.

And because you’re new to songwriting, it can be really helpful to start with one of the most common song structures. So let’s look at what those oft-used song structures are…

Verse – Chorus – Verse – Chorus (ABAB)

This is probably the most common song structure in most genres. It’s the simplest, so it often works well in pop music.

Examples of an ABAB song structure…

“HUMBLE.” by Kendrick Lamar

“We Are The Champions” by Queen

Verse – Chorus – Verse – Chorus – Bridge – Chorus (ABABCB)

This is also a very common song structure, and it can be considered a variation of the ABAB structure.

Examples of an ABABCB song structure…

“Light On” by Maggie Rogers

“Set Fire To the Rain” by Adele

Verse – Pre-Chorus – Chorus – Verse – Pre-Chorus – Chorus (ABCABC)

This is very common in pop music although it’s a bit more subtle. And sometimes, a pre-chorus type section might have been written as the end of the verse before it.

Examples of an ABCABC song structure…

“Smells Like Teen Spirit” by Nirvana

“Imagine” by John Lennon

Verse – Verse – Bridge – Verse (AABA)

This song structure is very common in folk and singer/songwriter genres. Many times, the “Hook” is a one-liner at the end of each verse, sometimes with slightly different lyrics.

Examples of an AABA song structure…

“Peace Like a River” by Paul Simon

“Have Yourself A Merry Little Christmas” by Hugh Martin

Writing Techniques

Before you decide what song structure to use for your next song, let’s talk about some different writing methods. Once you know these songwriting techniques, it may make it easier to choose a song structure.

Allegory

An allegory is when you tell a story that can be interpreted as meaning something other than what’s on the surface.

Examples of allegory in songs include “The Temptation of Adam” by Josh Ritter,  “The Fox, The Crow and The Cookie” by mewithoutyou, and “American Pie” by Don McLean.

Alliteration and assonance

Alliteration is when you use the same consonant sound at the beginning of words next to each other in your lyrics.

Like when Taylor Swift said, “And, baby, now we’ve got bad blood.” Or when Frank Sinatra sang, “I’ve been a puppet, a pauper, a pirate, a poet, a pawn and a king.”

Assonance is when you use similar vowel sounds near each other in your lyrics. It’s not an exact rhyme but it’s close.

Like when Edgar Allen Poe wrote in The Raven: “Once upon a midnight dreary, while I pondered, weak and weary…”

Or when Eminem rapped, “His palms are sweaty, knees weak, arms are heavy / There’s vomit on his sweater already, mom’s spaghetti.”

Hyperbole

Hyperbole is when you exaggerate something in order to make a point.

Examples would include Coldplay saying, “It feels like a million miles away.” Or when Mariah Carey sang, “I can’t live without you by my side.”

Metaphors

A metaphor is when you refer to one thing by mentioning another thing.

When June Carter wrote the lyrics to “Ring of Fire” – “Love is a burning thing, and it makes a fiery ring” – she was talking about the all-consuming nature of her and Johnny Cash’s love.

And “Blackbird” by The Beatles is a metaphor for racial inequality and a call for true freedom for everyone.

Personification

Personification is when you attribute human characteristics to something nonhuman.

Like when Led Zeppelin said, “And so today, my world it smiles.” Or when Bob Marley wrote, “The high yellow moon won’t come out to play.” Or when JAY-Z rapped, “The city never sleeps, better slip you an Ambien.”

Similes

A simile is similar to a metaphor except it uses the words “like” or “as.” While a metaphor says one thing is another thing, a simile says one thing is like another thing.

Similes have been in tons of songs throughout history. Like Oasis when they said, “But her soul slides away like a ghost.” Or when John Mayer sang, “She shines like a diamond in a coal mine.” Or when Def Leppard said, “Melt like sugar, sweet and slow.”

Storytelling

This is my personal favorite type of songwriting because you can do this without being overly poetic. It’s too easy to try to sound poetic but end up sounding confusing or like you’re trying too hard. But by telling a story, you can create an emotional impact without overdoing it. People connect with and remember stories. It’s how we’re built.

The best tip I’ve heard for writing story songs is to zoom in on one moment and dissect it. Focus on the five senses involved in that moment. And show us the moment, don’t just tell us about it.

Then think about the lesson of that story – that’s your hook/chorus. Then you can express your thoughts about that lesson in verse two.

How To Find the Right Song Structure

Like almost everything in music, song structures are guidelines, not rules. You don’t have to use one of the common song structures. You can do whatever you want.

Ultimately, it all comes down to feel. What feels natural for the song you’re writing?

Here are some further guidelines to try for yourself:

• Telling a story or using allegory: Verse – Verse – Bridge – Verse
• Writing a pop song: Verse – Pre-Chorus – Chorus – Verse – Pre-Chorus – Chorus
• Writing a rap song: Verse – Chorus – Verse – Chorus (with an optional Bridge)

Try this: write songs in each song structure to get a feel for what you like and what works for your style of songwriting.

Song Structure FAQs

What is the basic structure of a song?

There are many song structures you can use, but here are some of the most common options: 1) Verse – Chorus – Verse – Chorus, 2) Verse – Chorus – Verse – Chorus – Bridge – Chorus, 3) Verse – Pre-Chorus – Chorus – Verse – Pre-Chorus – Chorus, and 4) Verse – Verse – Bridge – Verse.

What are the six sections of a song?

The six main sections of a song are Intro, Verse, Pre-Chorus/Lift, Chorus, Bridge, Outro (you could also include Instrumental Break as a seventh section).

What is the easiest song structure?

If you’re new to songwriting, try starting with this song structure: Verse – Chorus – Verse – Chorus. It’s simple and will help you become familiar with the two most important parts of a song.

Photo credit: Brett Jordan

Now that recording setups can be totally mobile and remote, headphones have become a much more important tool for indie musicians, producers, and engineers. So we’re going to review some of the best mixing headphones and how to mix on headphones.

Should You Mix On Headphones?

You might’ve heard people say you shouldn’t mix on headphones. And while it’s better to mix on monitors, you can still get a good mix with headphones.

“While it’s certainly tricky to replace loudspeakers completely during the mixing process,” writes Sound On Sound, “it’s quite possible to do about 90 percent of your mixing on headphones.”

Let’s look at the benefits and downsides of mixing on headphones…

The benefits of mixing on headphones:

• Better bass response (if your room is untreated): if your monitors are set up in a room that’s not treated to handle bass, you can get a lot of bass buildup. In this scenario, headphones may give you a more accurate bass response.
• Fewer room reflections: again, if your room is untreated, using monitors to mix may not be ideal. In this case, headphones can help you dial in your mix without the sound of the room.
• Mobile: headphones are really the only way to mix music on the go. You’re not going to bring your monitors with you when you travel, but headphones can easily fit into your backpack.

The downsides of mixing on headphones…

• Higher potential for ear fatigue or hearing loss: when you’re mixing on headphones, the sound is getting pumped directly into your ears. There’s no distance between the sound and your ears like there is with monitors. This can cause ear fatigue and, over time, hearing loss if you’re not careful.
• Gives you a different soundstage: when you listen on monitors, some of the sound from the left monitor hits your right ear but slightly behind the sound from the right monitor. And vice versa. This creates a totally different stereo field than if you were listening on headphones.

So how do you take advantage of the upsides and avoid the downsides? Here are some tips for how to mix music on headphones…

The key is to check your mix on other sources. If you’re going to mix on headphones, make sure you’re also mixing on monitors. If you don’t have monitors, listen on earbuds, your computer speaker, in your car, and wherever else you can. This helps you ensure the mix sounds good regardless of the source.

Opt for open-back headphones if you can. Closed-back headphones are meant to completely cover the ears, making them great for tracking live instruments. But open-back headphones allow bleed from the earcups, preventing ear fatigue. Also, they usually have less of a low-frequency response, potentially giving you a more accurate sound for mixing.

Don’t turn it up too loud. It can be tempting to keep bumping up the volume because louder music sounds better to our brains. But if you turn it up too loud, you can get ear fatigue, a headache, and eventually hearing damage.

Take regular 5-10 minute breaks. This helps protect your ears and also keeps your mind and ears fresh.

Try adjusting your headphones on your head. If you wear your headphones slightly off of your ears (ex. slightly lower and slightly forward on your ears), it can give you a sharper image of the soundscape. And it can help you avoid ear fatigue.

Lastly, use headphone mixing software. Some software can emulate what it would sound like if you were listening through monitors or in a certain room. These programs can help you make sure your mix sounds good regardless of the listening source.

Most headphones have a built-in bump between 40Hz and 500Hz to make up for not “feeling” as much of the bass through headphones. And most headphones also have a gentle roll-off of the higher frequencies, often around 20kHz. So calibrating your headphones is important.

Software To Improve Your Mixing Experience

Let’s take a quick look at some software that will help you get more accurate mixes through your headphones. These programs model the sound of different listening contexts, like professionally tuned speakers, your car, a club, and many others.

Probably the most well-known option is SoundID from Sonarworks. It will “calibrate your headphones and speakers…to trust every mixing decision.” And you can use the free trial before you buy.

You can also try The VSX Headphone Mixing System from Steven Slate. Mike Kosacek, an experienced engineer, writing for Tape Op Magazine, said this program is “a tool that I will 100 percent be using on future mixes to ensure I’m hearing everything I should be hearing!”

There’s also Nx by Waves, which Sound On Sound called “a very cost-effective” plugin that’s “surprisingly three-dimensional.”

10 of the Best High-End Mixing Headphones

If you’ve got a bit of a budget, you may want to spend a little more to get a better pair of headphones for mixing. So below are some of the best high-end headphones, their approximate cost, and reviews that represent the general consensus of users.

AKG K712 PRO (open-back) – $500-700

Photo credit: AKG

Sound On Sound: “…the open‑back design delivers a natural, spacious sound with precise stereo imaging as well as helping to avoid listening fatigue.”

Sweetwater rating: 4.8/5 stars

Top-voted Reddit comment: “…boosted bass that created a muddled midrange and a tepid soundstage…”

Audeze LCD‑X (open-back) – $1,200

Sound On Sound: “…promises to deliver a listening experience comparable to high‑end speaker systems, with a neutral response and low distortion figures helping to combat listening fatigue.”

Amazon rating: 4.2/5 stars

Reddit user review: “The LCD-Xs present instruments and vocals on top and close around of you…”

Audio Technica ATH‑R70x (open-back) – $300

Sound On Sound: “…promises a natural and spacious sound thanks to acoustically transparent aluminium honeycomb mesh earcup housings, as well as minimal distortion, a balanced tonality with an extended high‑end frequency response and detailed transient reproduction.”

Sweetwater rating: 4.7/5 stars

Top-voted Reddit comment: “It’s a phenomenal headphone, but the thin pads lead me to feel physical discomfort around my ears in a matter of minutes…”

Austrian Audio The Composer (open-back) – $2,700

Photo credit: Austrian Audio

Sound On Sound: “…said to deliver precise reproduction throughout the frequency range along with low THD levels.”

Reddit review: “Detailed but never sibilant or fatiguing, these are truly endgame material for me.”

Avantone Planar (open-back) – $400

Photo credit: Avantone

Sound On Sound: “…offering an accurate sound that couples a detailed high‑frequency response with natural low‑end reproduction and a fast response time.”

Sweetwater rating: 4.1/5 stars

Top-voted Reddit comment: “…the Avantone is a fairly underrated headphone…”

Focal Clear Mg Professional (open-back) – $1,500

Photo credit: Focal

Sound On Sound: “…said to create an extremely precise sound that delivers detail across the full audio spectrum whilst maintaining a flat and natural tonal balance.”

Sweetwater rating: 4.8/5 stars

Reddit review: “…Focal made the new MG model slightly fuller in the bass and almost no peakiness in the treble.”

Neumann NDH 30 (open-back) – $650

Photo credit: Neumann

Sound On Sound: “It shares the same high‑quality spring steel and aluminium construction as the earlier NDH 20, but with an open‑back design that helps to deliver a fast transient response and maintains a natural, transparent sound throughout the entire frequency range.”

Sweetwater rating: 4.8/5 stars

Reddit review: “The tuning is excellent. One of the best I’ve ever heard.”

Sennheiser HD 600 (open-back) – $400

SoundGuys: “…one of the most venerated headphones in the audiophile space over the last few decades for good reason: it’s great.”

Sweetwater rating: 4.7/5 stars

Top-voted Reddit comment: “…tried and true. There are fancier (more expensive) models out there with wider soundstages, but they’ve been good enough for tons of engineers since 1997 and that’s good enough for me.”

Shure SRH1840 (open-back) – $600

Photo credit: Amazon

Sound On Sound: “The 1840 offers an extended high‑frequency response, accurate bass reproduction and a wide stereo image…”

Sweetwater rating: 4.7/5 stars

Reddit review: “It’s like musical nirvana. Very clear sounding and great imaging. Bass is tight. Has some nice sparkle and a very large soundstage.”

Sony MDR‑MV1 (open-back) – $400

Photo credit: Guitar Center

Sound On Sound: “…promises unparalleled spatial accuracy for all listening formats thanks to a precision‑tuned open‑back design loaded with drivers that have been optimised to deliver a natural, balanced sound with minimal distortion.”

Sweetwater rating: 5/5 stars (two reviews)

Reddit review: “…I think they are very good but I still don’t trust them enough to mix without also checking the monitors.”

Best Mixing Headphones on a Budget

If you’re like many other indie musicians and you have a smaller budget, there are still really good options for you. Here are a few of the best mixing headphones at a lower pricepoint.

Audio-Technica ATH M50x (closed-back) – $150

Photo credit: Audio-Technica

Tape Op Magazine: “They’re comfortable, I can wear them for extended periods of time and can hear a lot of detail on them.”

Sweetwater rating: 4.7/5 stars

Top-voted Reddit comment: “M50x seems to have fixed some of the tuning problems [present in the M50]…”

Sony MDR-7506 (closed-back) – $100

Photo credit: Sony

New York Times: “…our listening panel of audio experts and musicians chose the MDR-7506 set over nearly 150 headphones in the same price range, as well as dozens that cost over $200.”

Sweetwater rating: 4.5/5 stars

Top-voted Reddit comment: “I bought a pair and they’ve been great. I’m sure there’s benefit in paying more, but these are well balanced and work for me…”

Sennheiser HD 280 PRO (closed-back) – $100

Photo credit: Sennheiser

SoundGuys: “…may be a little lightweight on bass, but if you’re mixing or recording, it’s a solid tool and offers a good value.”

Sweetwater rating: 4.4/5 stars

Top-voted Reddit comment: “I rarely ‘mix’ on them, prefer monitors at lower volumes for most of those hours, but I will pull them out for ‘details’ if I am trying to get an instrument to fit, and I ‘confirm’ a mix towards the end on the cans…”

Author’s note: these are my main headphones. I normally mix on monitors, but I’ve done a lot of mixing on these can, and I always check my mixes on them. They have a relatively flat response, which I prefer for mixing.

Headphones for Mixing FAQs

Open-back headphones vs closed-back headphones…what’s the difference?

Open-back headphones allow air and sound to pass through the ear cups from the back. This means there’s much less low-frequency buildup than closed-back headphones. Closed-back headphones fully cover the ear, making them better at sealing in sound and isolating your ears from outside noise.

What type of headphones are best for mixing?

Open-back headphones are preferred for mixing because they are less likely to have unnecessary bass buildup. Also, because they allow air and noise out of the back, they’re less likely than closed-back headphones to cause ear fatigue.

How do I choose headphones for mixing?

When buying headphones for mixing, opt for open-backed headphones if you can afford them. One of the main things to remember is, you want the flattest possible frequency response. This will let you hear everything in the mix without certain frequencies getting boosted more than others.

Photo credit: David Pupăză

As an indie artist, you’re always looking for a way to get ahead. An edge. You could even say a shortcut. Well, Spotify Discovery Mode is not a shortcut, but it could help you grow your music career. The catch is, Spotify takes a portion of your streams in exchange.

What Is Spotify’s Discovery Mode?

Spotify Discovery Mode is a tool that lets you, the artist, push your music out to more people through its algorithm. In exchange, Spotify keeps a 30% commission on all streams pushed out via Discovery Mode contexts (currently Spotify Radio, Autoplay, and Daily Mix) and not from anywhere else.

So if someone listens to your song via Discovery Mode, Spotify keeps 30% of the payout for that stream. But if that listeners adds your song to their own playlist, you would get 100% of the streaming royalties when the song is played from that playlist.

This tool does not guarantee more streams, but it “increases the likelihood of the selected songs being recommended.” Spotify looks at song engagement, both within and without Discovery Mode, to determine if it will get pushed to more listeners.

So it doesn’t push your song to random people. It uses the algorithm to recommend songs to listeners who may like the song.

Discovery Mode operates on a month-to-month basis, so when you opt in a song, it’s opted in for a month. After that, you can choose to opt it out or opt it in for another month.

And you’re not giving up any rights to your song. You’re simply asking Spotify to show your song to more people, and in exchange Spotify keeps a portion of the streams from its Discovery Mode efforts.

Is Spotify Discovery Mode Worth It?

According to Spotify, on average, artists who use Discovery Mode see a 50% boost in saves, a 44% boost in playlist adds, and a 37% boost in follows.

They calculate these increases by looking at a track’s stats in the 28 days prior to it entering Discovery Mode. Then they compare these numbers to that track’s stats in Discovery Mode contexts during the campaign period.

Sounds pretty cool, right? Well, let’s see if Discovery Mode is actually worth it based on people who have actually used it.

Indie artist Nic D said on the NDPNDNT podcast that it’s a “really a great tool if your song is actually good.” And as Spotify says, “It only works if fans love [the song] too.”

Nic D points out that even though Spotify takes a commission from Discovery Mode streams, these are streams you wouldn’t have gotten otherwise.

Artist Brian Hazard wrote a case study on his experience with Discovery Mode. Overall, it sounds like he had positive results.

“It looks like the more songs you opt in, the more streams you get,” he writes. “The effect is large enough that, for me at least, streams per song is irrelevant. I want as many streams as I can get, so I’m going to opt in as many songs as I can!”

Last year, Ari from Ari’s Take published the results from an artist who had been using Discovery Mode for 5 months.

“Every month it has brought a healthy lift in listeners in streams,” he writes.

“…If you use Discovery Mode,” he continues, “it’s safe to say that you will see a bump in streams and listeners.”

Also last year, indie artist Andrew Southworth said Discovery Mode is a “no brainer.” He shares all the stats and results from his experience, which will give you a good idea of what to expect. Keep in mind, this was last year when Discovery Mode was relatively new. So is it still a no brainer?

“Eventually, down the line,” he says, “when everyone’s using Discovery Mode, it’s effectively like no one having Discovery Mode.”

Does Discovery Mode Decrease Your Monthly Listenership?

In my research, I noticed a common theme: artists who noticed a decrease in monthly listeners after using Discovery Mode.

“It works okay-ish/well for a couple of genres but it’s awful for the most,” said this Redditor five months ago. “…In my case it brought me down from 35k [monthly listeners] to 20k and dropping.”

Also, this Redditor said four months ago that after using Discovery Mode, they went from 80k monthly listeners to 52k.

But they said “even if I hadn’t opted into Discovery Mode my listeners and streams would’ve dropped as songs aren’t being pushed as much via the algorithmic playlists as Spotify is actively focusing on pushing Discovery Mode plays so they can make more money.”

Another musician says they went from 30k monthly listeners to 5k after using Discovery Mode.

“When it was just…Beta I tried it and got good results,” they said three months ago. “But only the first time I did it. It gave me a good bump in followers and monthly listeners. So I thought cool, this is worth it. But when I did it again my monthly listeners went way down from 30k to 5k. Normally I range between 10k-20k monthly listeners without doing anything but just releasing music and making content for Instagram, YouTube, and TikTok.”

We can’t confirm why this decrease in monthly listenership has happened for these artists, but we do know there are so many factors that could have caused this drop.

And this might be why Spotify has since increased the monthly listenership minimum for Discovery Mode to 25,000. Whereas before, artists could use Discovery Mode with much fewer monthly listeners.

When (and When Not To) Run Discovery Mode

According to Venture, a music marketing company that says it was invited to a Spotify for Artists masterclass, there are certain times when you should and should not opt your songs into Discovery Mode.

Apparently, the best time to opt in your song to Discovery Mode is when it already has good traction, whether organically or algorithmically.

And the worst time to opt in a song is when it has not been doing well on streaming. Doing so can negatively impact your algorithmic success because you’re teaching the algorithm to learn negative things about your song.

Remember the artists from the previous section who said they saw a drop in monthly listeners after running Discovery Mode? It’s possible they may have opted in songs that weren’t doing well in the first place, hence the negative results. But again, we can’t confirm each of the artists’ situations.

The Overall Takeaway

There’s a reason it’s called “Discovery Mode.”

It’s not about making a profit, it’s about getting discovered. It’s not going to blow you up to superstardom, but it can definitely get your music in front of new people. And it can do that well if you haven’t confused the Spotify algorithm by making multiple different unrelated genres, or if you’ve opted in a track that hasn’t already been doing well.

The good news is, it seems Spotify is making changes to improve the efficiency of Discovery Mode, like adding a bunch of eligibility criteria (see the next section for that).

Using Discovery Mode is about finding new fans who, over time, will help you build a music career. Yeah, I don’t love that Spotify takes a bigger commission on Discovery Mode streams when the per-stream rate is already terribly low. But remember, these are extra streams you wouldn’t have gotten otherwise.

Ultimately, Discovery Mode seems worth a try. It couldn’t hurt to opt in one or two of your top performing tracks as a test. If it doesn’t work for you, then stop. But it could definitely boost your monthly listeners, streams, and (hopefully) lifelong fans.

How Do I Join Spotify Discovery Mode?

Discovery Mode is still technically in beta mode, so not everyone will have access. But here are the requirements in order to get access:

• You have at least 3 tracks that meet the following criteria:
  • Distributed via Amuse, CD Baby, CmdShft, Dance All Day, DistroKid, EmuBands, Horus Music, recordJet, Stem, *TuneCore, UnitedMasters, Venice Music, Vydia
  • Released for at least 30 days
  • Streamed via Spotify Radio, Autoplay, and/or Daily Mix in the last 7 days
• You have at least 25,000 monthly listeners
• Available in select countries (see full list here)

So yeah, there are a lot of stipulations. If you don’t meet these criteria, you could try using Spotify Showcase or Marquee. Either way, you should be creating content to promote your music.

But if you do meet the Spotify Discovery Mode eligibility requirements, you’ll see it in your Campaigns tab in your Spotify for Artists dashboard.

*Not listed by Spotify as one of the distributors who have access to Discovery Mode, but a TuneCore representative told Digital Music News that TuneCore does participate and offers artists access.

Photo credit: Techivation

If you’ve never mixed music before, it may feel daunting to learn. There’s so much depth to it that even experienced mixing engineers continue to learn and improve. But in this article, we’re going to walk through the basics of how to mix music. And I’m going to give it to you straight and keep things simple.

What Does It Mean to “Mix Music”?

Mixing music just means blending all the instruments of a song together so it sounds good.

You use gain levels (volume), panning (left and right), and effects to make the whole song sound like the players are in the room with you. You’re trying to create the illusion of left, right, front, and behind.

Here are some general mixing tips to keep in mind:

• Bass frequencies (bass guitar, kick drum) should always be up the center
• Keep the vocals up the center (and usually upfront in the mix depending on your preference)
• Cutting and boosting frequencies with an EQ can help highlight certain frequencies and de-muddy your mix
• A compressor helps tame the loudest peaks of an instrument so its perceivability stays balanced throughout the song
• Reverb can help fill out your mix and make it sound more interesting

Step 1: Get Good Recordings

The first step is to make sure you capture high-quality recordings. If you’re just the mixing engineer, you don’t have control over this. But if you’re doing the recording, doing it well will make mixing so much easier.

This article is not about how to record music, so I’d recommend checking out these articles:

• 5 Methods That Will Improve Your Recordings
• How To Treat Your Home Recording Studio

Step 2: Edit the Takes

Recording, editing, and mixing have a lot of crossover, but you’ll want to make sure all the takes are fully edited before really diving into mixing.

First, you’ll want to comp the takes. “Comp” refers to a compilation of the best takes, using crossfades in between edited sections. Everyone has different comping preferences. On one end of the spectrum, some editors will edit word-by-word or note-by-note. On the other end, other editors will only comp when there’s a mistake or they’ll comp entire sections.

Here’s one of my favorite videos on vocal comping…

Next, you may want to fix timing issues. Ideally, there won’t be many (or any) timing issues because the parts were performed and recorded well. If you’re spending hours editing the timing, maybe you should re-record the parts.

When editing timing issues, use your ears and your eyes, making sure things snap to the grid. And apply crossfades when shifting items.

Here’s a walkthrough of how you can fix timing problems…

Pro tip: many singers tend to be slightly ahead of the beat, so it can make the vocals sound a lot more professional if you nudge them back 5-10ms.

The third main thing you’ll want to do is tune the vocals. Any good DAW has a pitch correction stock plugin. And for autotune that doesn’t sound like autotune, start the response time between 65-80ms.

However, instead of slapping an autotune plugin on the entire vocal track, it’s a much better option to only tune the notes that sound off. You can shift individual notes on your vocal track with a plugin called Melodyne.

Lastly, you may want to do volume automation. This is where you go through a track (usually a really dynamic one) and adjust the volume so it’s more even across the whole song. You should definitely do this on your lead vocal track, if nothing else.

Step 3: Set Up Your Mixing Session

Before you start mixing, you need to make sure your channels are properly labeled and organized.

If you recorded the tracks, they’re probably already labeled. But if a client sent you a mix, you’re going to get a folder of probably lots of tracks, some of which may not have clear names.

So it’s important you make sure you know what each thing is, label it appropriately, and then organize the channels to your preference.

Personally, I put the vocals a the top, then acoustic guitar, then supplemental instruments like electric guitar, piano, and synths. Then bass, and then drums and percussion at the bottom.

But you’ll find your own organizational preference. The goal is to be able to quickly navigate your session so your mixing experience is as efficient as possible.

Step 4: Begin! How To Mix Music

Now it’s time to actually mix music.

Before you start, you should know that a great mix doesn’t rely on the plugins, it relies on your knowledge and your ears. Yes, there are some cool plugins that can definitely help. But you don’t need super fancy plugins, especially if you’re just learning the basics of mixing.

Monitors vs. headphones: which is better?

Ideally, you would have a nice pair of monitors in an acoustically treated room. However, not everyone has that. And good records have been mixed on headphones.

The main goal is to become familiar with what you have. Whether you have sub-par monitors in an untreated room, a pair of studio headphones, or an expensive, high-quality home studio, you can mix music.

You first have to learn what good music sounds like in your mixing context. So listen to your favorite songs that are professionally mixed and mastered. This will train your ears and brain to know what a good mix should sound like. That way, you know what to aim for when you’re mixing.

The first step to a mix is to set the gain levels and pan percentages. This is called a static mix – you try to get the mix sounding as good as possible with only gain levels and panning, no effects.

Here’s how to do a static mix:

1. Set all the volume/pan knobs at zero or in the middle
2. Begin by raising the volume of one instrument at a time, starting with the most important, until they sound balanced
3. Next, adjust the panning levels so you have a wide, balanced mix
4. Loop 4-5 times, continually re-adjusting the volume knobs
5. Find the volume/pan position for each instrument that works for MOST of the song (effects can take it the rest of the way)
6. Leave about -5 dB of headroom on the master track (effects can make things louder, you may adjust the gain levels more, and you also want to leave headroom for the mastering engineer)

Here’s what a static mix looks like…

Now we turn to EQ (“equalization”). Basically, EQ helps you cut unwanted frequencies and boost (or simply keep) desirable frequencies.

Just to keep things simple, here’s how I approach EQ, and you can try this too:

• Listen for too much bass
  • If so, try cutting the low end starting at 50-150 Hz and adjusting from there
• Listen for any “weird” or harsh sounds in your mix
  • If so, go find the track that’s causing the problem
  • Using a narrow bandwidth that’s fully boosted, slowly sweep across the frequency spectrum until the unwanted sound pops out
  • Once you find the unwanted sound, cut the Hz at that spot
• Sometimes it can be nice to boost the high end (around 10k Hz), especially on vocals
• If the mix is muddy, check the 200-500 Hz range and cut as necessary with a broad bandwidth

Now let me clarify some things. These tips will vary widely depending on many things, including but not limited to:

• The microphone you used
• How close or far away the voice/instrument was to the mic
• The room in which the recording happened
• What else is happening in the song

The main takeaway is, keep it simple. If it sounds good, it is good. It’s important to know how to use EQ, but you also don’t want to overuse it.

The next tool you need to know about is compression. This essentially brings down the loud parts of a sounds and effectively makes the quieter parts more perceivable. It evens out the dynamics of a track.

As a beginner, you can use one of your DAW’s compression presets then adjust the threshold from there. You’ll end up with some pretty good results.

However, you should still be aware of what’s happening. So here are the parts of a compressor that you should be familiar with:

• Threshold: determines the level at which the compressor starts to act. Any audio signal that exceeds this threshold will be affected by the compressor (ex. if you set the threshold to -20 dB, any signal louder than -20 dB will be compressed)
• Ratio: controls the amount of compression applied to the audio signal once it exceeds the threshold (ex. a ratio of 4:1 means that for every 4 dB that the input signal exceeds the threshold, the compressor will only allow 1 dB of that to pass through…so higher ratios = more aggressive compression)
• Attack: determines how quickly the compressor responds once the audio signal crosses the threshold (fast attack time = compressor kicks in quickly, slow attack time = compressor take longer to act)
• Release: controls how quickly the compressor stops compressing the audio signal once it falls below the threshold (short release time = compressor stops acting quickly, fast release time = compressor takes longer to stop acting)
• Knee: determines the compressor’s transition from uncompressed to compressed signal levels around the threshold (hard knee = the compressor applies full ratio immediately once the threshold is exceeded, soft knee = gradually applies compression as the signal approaches the threshold)

Regardless of your compression plugin, here are some general tips to get you started:

• Have a goal with compression, don’t just apply it because you “should”
• Compression works best if you’ve already done volume automation
• If you’re a beginner, try starting with one of your DAW’s compression presets and adjust the threshold from there

Here’s some more context for how to use compression…

Now let’s talk about bussing. It’s a method that will make your mixing experience way easier.

A bus channel (AKA send or aux track) lets you effect multiple tracks equally at the same time instead of adding an effect to each individual channel and adjusting them separately.

Simply put, a bus channel receives all the channels you send to it and output a copy of those channels but coming out of one channel. You then apply an effect to the bus channel, which applies your chosen effect to the copy of these channels.

Think of it like a literal bus: you’re picking up each channel, putting them all on the same bus, and taking them to the same place – applying your chosen effect.

Here’s how to create a bus track:

1. Create a new track and apply your desired effect
2. Open the FX option for this new track
3. Under “Receive” or “Input,” you can choose which tracks to send to this bus track
4. Alternatively, you can go to each individual track and route them to the bus track (under “Send” or “Output”)
5. Make sure the signals you’re sending to the bus track are stereo, not mono
6. From here, when you adjust the effect on your bus channel, it will affect the tracks you routed to it
7. If your DAW gives you the option for a track type, choose AUX
8. This lets you send only a portion of the signal to the bus track, allowing you to control how much of your chosen effect is applied to each routed track (some DAWs let you control this for each routed track directly on the bus channel)

Here’s a video that walks you through how to set up a bus/aux channel…

The last thing we’ll talk about is reverb. Reverb is basically room emulation (big room, small room, cathedral, small bathroom, etc).

Before you apply reverb, know what you’re trying to achieve with it. Most likely, you’re trying to add depth, encourage cohesion, or make the mix more interesting.

To add depth, keep in mind that more reverb makes the instrument sound further away.

For cohesion, you can bus multiple tracks to the same bus track with reverb applied to it.

And to make things more interesting, try adding reverb to just specific parts of specific instruments (ex. chorus vocals, acoustic guitar on just the strum going into the bridge, on just the drum fill, etc).

Here are the main settings you’ll see on a reverb plugin:

• Room Size/Type
• Pre-Delay: determines the time gap between the original sound and when the reverb kicks in
• Decay Time: controls how long it takes for the reverberated sound to decay to -60 dB below its original level
• Damping/EQ: shapes the frequency response of the reverb effect by letting you cut or boost specific frequency ranges
• Wet/Dry Mix: determines the balance between the original dry signal and the processed reverberated signal

I highly recommend ValhallaVintageVerb. It comes with any kind of preset you’d want, and you can adjust the effects from there.

Once you become familiar with how to mix music, you can ignore every single guideline in this article if you want to. Mixing is an art. But if you’re just starting out, I’d suggest sticking to the basics. You can’t break the rules until you first understand them.

Photo credit: BandLab

Let me start by saying, you can do whatever the heck you want as a musician.

But this post is about the growing trend of short songs, why you may or may not want to make more short songs, and seven examples of timeless short songs.

Let’s Define “Short Songs”

Before we talk about the benefits and downsides of making short songs, we have to define what a “short song” is. For the purpose of this article, let’s define a short song as between 30 seconds and 2:30 minutes.

We’ll say at least 30 seconds because that’s the minimum stream length required for Spotify to pay out a song. And we’ll cap it at 2:30 because we want it to be below the average song length of just over 3 minutes.

The Average Song Length Is Going Down

Since the 1990s, the average song length has been going down, settling at about 3:15 today, according to The Washington Post. And it may continue to decrease because “social media is nudging song lengths downward.”

“The attention span for any entertainment has changed a lot,” said Erika Nuri Taylor, a Grammy-nominated songwriter. “People are interested for two minutes and then they want to switch to the next thing – the next song, the next video, the next TikTok. It’s constant scrolling and bouncing around.”

For example, at this year’s Grammy Awards, 28 of the 144 nominated songs were under three minutes long. That’s 19% of the songs nominated. While in 2023, 14% of the songs nominated were under three minutes.

Now, I know the Grammy Awards are not the best representation of the music industry as a whole. It’s mainly just famous artists patting each other on the back. But it does somewhat match the downward trend of song length.

Are You Stuck…Or Is the Song Done?

As a songwriter, you have a folder on your phone or computer (or maybe a paper folder if you’re old-fashioned) with unfinished songs. I know this because I am also a songwriter. This is what songwriters do – start songs and only finish a small portion of them.

But ask yourself, did you get stuck on those songs? Or are some of them actually done? Who says a song has to have two or three verses, a chorus, and a bridge? Maybe the song just needed a verse and a chorus. Maybe it just needs a verse, refrain, verse, refrain. Maybe it’s simpler than you think it has to be.

These are really interesting questions to ask yourself. Because, as full-time indie artist Nic D says in the video above, the most common hangup for songwriters is trying to write one more verse. That extra verse can cause a song to stop dead in its tracks and never see daylight. Usually, it’s verse two that’s the obstacle.

Music has guidelines, but not rules. You can structure a song however you want. But you should never write more of a song just for the sake of making it “long enough.” Maybe the song is done, and maybe you just wrote a short song. Free yourself of the hard-and-fast rule that a song must be a certain length.

As the famous saying goes, “Done is better than perfect.” This means finishing something is better than working on it forever until you think it’s perfect. Perfect will continue to move away from you as time goes on because your taste will keep improving. So you will never reach perfect.

The Downsides of Short Songs

Now, there are some downsides to writing short songs (30 seconds to 2:30 minutes). Let’s briefly talk about them…

Less time to tell a story

If you’re a storytelling songwriter, you may feel constricted by short songs. It may feel like there’s less time for you to tell a story, and that can definitely be true.

Less time to build the song

Short songs mean there’s less time to build the song the way you may want to. If you want it to go from quiet and gentle to big and epic, it can be hard to do that in under 2-and-a-half minutes. So the musical journey may not feel long enough at times.

The Benefits of Short Songs

Now let’s talk about how short songs can be good for you as a songwriter and artist.

Can be more creatively fulfilling

I don’t need to tell you this because you already know it, but finishing a song feels so good. Even if it’s just an okay song, it’s rewarding to finish creating something that didn’t exist before. And writing a short song is easier to achieve and can lead to feeling more creatively fulfilled more often.

Could lead to more repeat plays

Short songs leave the listener wanting more if it’s a good song. So what do people do when they want more? They stream the song again.

Satisfies shorter attention spans

The average attention span is shorter than a goldfish. And short-form content seems to be shortening our attention spans too. For better or worse, short songs fit right in with the human attention span.

Can be more memorable

A song’s memorability is based on good, catchy songwriting. But if a song is shorter, that means it probably has fewer parts for the listener to remember. And this can increase the chances of a short song being more memorable.

Successful Artists Who Make Short Songs

Let’s look at some artists who are putting out short songs and succeeding, both independently and on a label.

Nic D

Indie artist Nic D shares his thoughts on short songs in the video above. He has about 4 million monthly listeners on Spotify. And he regularly puts out short songs, according to our definition. It’s rare to find a song of his over 3 minutes.

Connor Price

At first, artist/rapper Connor Price was a student of Nic D, learning from him how to succeed as an indie. But he’s since surpassed Nic D in monthly Spotify listeners at give or take 7 million. And like Nic D, he puts out a lot of short songs.

Dan Reeder

Dan Reeder is a visual artist and songwriter who makes his own album covers, instruments, and recording gear. Phoebe Bridgers cited him as an influence, and her band covered one of his songs.

And he has no problem putting out very short songs, many times 1 minute or less. He’s doing alright too, getting about 135,000 monthly listeners on Spotify with his top song currently at 4.7 million streams.

Grindcore music

There’s a genre called Grindcore that combines elements of heavy metal and punk, and it’s common for bands in this genre to experiment with song lengths. Bands will make songs that are double-digits long. And many bands, like Pig Destroyer, write very short songs, sometimes under 1 minute.

Lomelda

Hannah Read, AKA Lomelda, releases plenty of short songs. Currently, seven of her top 10 songs on Spotify fit our definition of “short.” And she has over 650,000 monthly listeners on Spotify.

Short Songs That Have Lasted Generations

There are so many short songs that have become classics, even being covered by more modern artists. Here are seven examples…

Nick Drake – “Pink Moon” – 2:04

Paul Simon – “April Come She Will” – 1:47

Aretha Franklin – “Respect” – 2:27

Ray Charles – “Hit the Road Jack” – 1:59

Louis Armstrong – “What A Wonderful World” – 2:19

Fleetwood Mac – “Never Going Back Again” – 2:14

The Lovin’ Spoonful – “Daydream” – 2:19

What’s the Takeaway Here?

The main point is, don’t be afraid to write, record, and release short songs.

You obviously don’t have to, you can do whatever you want. But it could be a fun experiment in creative limitation. Limiting yourself to a 2-minute song could force you to get to the point in your lyrics, write only catchy melodies, and create a song people will listen to over and over.

At the very least, try writing a short song as an exercise. Just see what happens. You don’t have to release it, but see what you end up with.

Lastly, it’s not about the length of the song that determines its success. What causes a song to do well is whether or not it makes people feel something they want to feel. So focus on feel first, length second.

Photo credit: Bailey Zindel

We live in an attention economy. And there are more artists today than ever before. So you really have to focus on engaging with your fans, connecting with them in a way they won’t forget.

What Fan Engagement Does

Fan engagement is not just about popularity. It’s about building a community around you and your music. This community becomes a driving force behind your success, supporting you throughout their career.

And by fan engagement, I mean real connection with other humans (as much as we can in today’s digital/social media age). When your music hits them deeply, they’ll want to connect with you. Open up and allow that connection.

Here are some of the benefits of truly connecting and engaging with your fans…

Finding True Fans

Nurturing a connection with fans can turn them from casual listeners to true fans. A true fan is someone who will most likely follow your journey for life and support you along the way. This is what you need if you want a sustainable music career.

Word of Mouth

Word of mouth is the best way for you music to spread. And when someone feels a deep connection to not only your music but also you, they’re most likely to share you with their friends.

Feedback and improvement

I don’t think you should ask fans for help writing or producing songs. But I do think you can put song ideas out there to gauge how people react and use that information to decide what to do with the song.

You can also ask fans to vote on which of your finished songs should come out next.

And you can also zoom out and look at which of your released songs resonate with people the most, which can direct how you create going forward. You can look at stats like song saves, playlist adds, comments and DMs about the song, and overall streaming numbers.

Crowdfunding and support

When you connect with fans, they’re more likely to financially support you. Many indie musicians rely on crowdfunding to fund their next album, and many artists rely on fan subscriptions to make ends meet. Engaging with your fans creates a supportive community that may be more willing to contribute to your success.

Social media presence

In today’s digital age, social media is the main way for musicians to connect with fans. So it’s important to post regular updates, share your music (even if it’s not new), and respond to every comment and DM.

Live performances

Fans who feel connected to you are more likely to go to your live performances. A strong turnout at gigs not only makes the performance more fun, but it reminds you why you do music in the first place. This is where you can connect with fans in real life, and there’s nothing like it.

Merchandise sales

True fans are more likely to buy your merch, especially at your live performances. For many artists, merch is one of the main ways they make money.

Simple (But Effective) Ways To Connect With Your Fans

Here are three methods that will help you better connect with your fans. These may not be easy at first, but they are straight-forward.

Let them see you

There are tens of thousands of songs uploaded to Spotify every day. The market is saturated with mostly indie musicians. So for someone to really connect with you, you have to do more than just post your music and hope for the best.

You have to show people who you are. Show your personality. Show your sense of humor, or lack thereof. Share some of your life.

You don’t have to (and shouldn’t) share every single thing that’s happening in your life. But show enough of it online that people can see you as a real human. Whether it’s through your Instagram captions, TikTok videos, or however else you interact with fans, be authentic to yourself.

Respond to everything

I’ve lost track of how many times someone has followed me on social media after I respond to their comment.

People want to feel seen. So when they take a minute to drop a comment on your post, it’s only respectful to take a minute to respond. This goes a long way, especially when your fanbase is still small.

When someone DMs you, you need to respond. It takes even more guts and effort for someone to write a private message saying how your music has affected them. The least you can do is reply with gratitude.

Release consistently

It all starts with the music. Usually, people connect with your music first and then you. So by releasing music consistently, you’re keeping your fans happy (gradually turning them into super fans) and you have a better chance of finding new fans.

Right now, the internet is run by algorithms, whether it’s social media platforms or Spotify. Consistent releases give you more of an incentive to share content, which drives online engagement, encourages fan connection, and helps you find new people.

Also, Spotify loves when you release music regularly, making it more likely you land in people’s Release Radar, Spotify Radio, and the other algorithmic playlists.

As an indie musician, it’s more important to connect deeply with the fans you do have than to try to get as many casual listeners as possible.

Photo credit: Derick Daily

Grants are an often overlooked way for musicians to get financial support. So to help bring awareness to this, let’s talk about what grants you can apply for in 2024 to help grow your music career.

Financial Support for Indie Musicians

Most musicians are focused on the more common sources of income, like music streaming or playing shows. But on top of that, indie musicians can earn money in a few other, more creative ways.

Grants

A grant is a financial award given by an organization or non-profit to support specific aspects of your music career.

In addition to the financial support, you can also get a bit of exposure. Usually, the granter will put out a press release and post the winner on social media. Also, winning a grant is definitely something you should include in your Electronic Press Kit.

And, as long as you’re eligible, grants often come with artistic freedom, allowing you to maintain independence and control over your work.

Crowdfunding

Crowdfunding is when you tap your audience to help fund a specific project. Recording an album? Going on tour? You can launch a crowdfunding campaign to raise the funds and give your supporters exclusive stuff in exchange.

The most well-known crowdfunding platforms right now include Kickstarter, Indiegogo, and GoFundMe.

Patronage

Another way to tap your fanbase for financial support is patronage. This is when fans subscribe to your exclusive content for a small monthly amount. If you do it right, patronage can be a lucrative and sustainable way to make a career in music.

Two of the best subscriber platforms are Patreon and Grouped.

Grants for Musicians

Now let’s look at actual grants you can apply for based on where you live and what you plan to do with the money…

Apply for Grants in the United Kingdom and Europe

Brighter Sound – A Week with Wu-Lu

Northern England, UK

Deadline: February 4

Apply here

Catalyser Fund

United Kingdom

Deadline: May 10

Apply here

Developing your Creative Practice

United Kingdom

Applications open March 14 – April 11 / July 25 – August 22 / November 14 – December 12

Apply here

Factory Sounds 2024

Manchester, UK

Deadline: February 12

Apply here

Jazz and New Music Creative Grant

France

Deadline: February 29

Apply here

Jazz and New Music Touring Grant

France

Deadline: February 29

Apply here

PRS Foundation

United Kingdom

Multiple grants with varying deadlines

Apply here

Steve Reid InNOVAtion Award

United Kingdom

Applications open soon

Apply here

Trailblazer Fund

United Kingdom

Applications open August 30 – December 13 / November 22 – March 21 (2025)

Apply here

Apply for Grants in the United States and Canada

New Music USA

United States

Multiple grants with varying deadlines

Apply here

BMI Foundation

United States

Multiple grants with varying deadlines

Apply here

Factor

Canada

Multiple grants with varying deadlines

Apply here

Apply for Grants in Australia

Creative Australia

Multiple grants with varying deadlines

Apply here

Independent Artists or Groups Fund

Multiple grants with varying deadlines

Apply here

Live Music Events Fund

Adelaide, Australia

Open year round

Apply here

Photo credit: Priscilla Du Preez

If you’re serious about your music career, you should create an Electronic Press Kit. It looks professional. It helps tell your story. And it can help you get gigs and music reviews.

What Is an Electronic Press Kit?

An Electronic Press Kit (EPK) is a digital promotional package you can send to venues, festivals, and people in the press. It’s usually something hosted on your website on a page not shown in the menu – it’s just for the recipients you send it to and not your fans.

An EPK is a great way to give music industry people a simple overview of who you are, what your music sounds like, your story, and why they should care about you.

Who Needs an EPK?

The short answer is, every musician. Especially if you’re independent because it can help your “legitimacy” in the eyes of the venues and press people.

Traditionally, physical press kits were used mainly by performing musicians. They would mail them out to venue managers, music review publications, festivals, etc. But nowadays, EPKs are good for any kind of musician, not just performers.

Here’s how an EPK benefits musicians based on their career goals:

• Performing musicians: a short and simple way to share your music, performance history, performing highlights, and any info the venue/festival requires.
• Recording artists: you can create an EPK as a centralized source for everything a press person may want to know about the release, like the concept, story behind its making, or any interesting ways it was recorded.
• Artists in sync licensing: an EPK can give sync licensing agents and companies a quick overview of you, any previous placements you’ve gotten, and what other sync artists your music sounds like.

How To Create a Good EPK

Above all, your EPK needs to be good looking and easy to navigate. If it’s confusing and looks bad, that’s a poor first impression and may turn off some industry professionals.

While you should make your EPK authentic to you, there are several things that need to be in your EPK…

Your artist bio

Your EPK needs an interesting story of who you are and where you came from.

Start with a few sentences that show who you are, any interesting aspects of your background, the type of music you make, and your biggest accomplishment. This is like your elevator pitch.

Next, you can write a bio that goes a little deeper, one that’s about 1-2 paragraphs long. Last, create a more in-depth bio that’s about 3+ paragraphs.

Why have different length bios? Because different venues, festivals, and press people often have word-length requirements, so you want to be ready.

Here’s a simple outline you can follow when writing your artist bio:

Introduction

Briefly introduce yourself. Include your stage name (if applicable) and your real name. Describe your musical genre or style, focusing on how it makes the listener feel.

Background

This is where you tell your story. What about your life and musical career is interesting and different from other artists? Show who you are as a person.

Musical Style

Describe your musical style in a unique way and mention any influences. This will give people a better idea of what they’re about to hear.

Accomplishments

Highlight any notable achievements or milestones in your music career. Include awards, sync placements, or important performances.

Current Projects

End your bio by looking to the future. Mention what project you’re currently working on, upcoming tours, or any other exciting developments.

Professional photos

Smartphone cameras have gotten really good, so you can get by without hiring a professional photographer. But if you have a little bit of a budget, it’s totally worth it.

A photographer can get shots you wouldn’t be able to on your own. And they can help bring out the aspect of you that fits whatever vibe you want, whatever fits your music. You should ask for both horizontal, vertical, and square photos, just so you have options.

Your Music

Obviously, you need to include your music. On the EPK page of your website, embed a player so people can stream your music while checking out the rest of the page. But also include a downloadable version of the EPK that has links to stream your music. Just make it easy for the person to listen to your music. This is the most important part of your EPK.

Videos

Include any music videos or performance videos you have. Music videos may show you’re serious about your career, and performance videos will show venues and festivals what you offer.

Press and reviews

Press about you and reviews of your music help show music industry professionals that your music is worth listening to. When respected music publications – or just other people in general – praise your music, it then becomes more than just you saying, “You need to listen to this!”

Career highlights

List your career highlights so people can quickly see what you’ve accomplished. This could be awards you’ve won or been nominated for, impressive streaming numbers, or a notable act you’ve opened for or toured with. Any big accomplishment you’re proud of, list it.

Social media and contact information

Including links to your social media profiles gives music industry people a chance to get to know you even better. They’ll see you’re posting regularly and interacting with fans. If you have an engaged audience, that’s good for them because it means you may be able to get people to come to a venue’s show or read a music blog’s review of your music.

And then of course, include your contact info. Preferably, a professional email address (hello@yourname.com) and your phone number.

Electronic Press Kit Examples

If you need some EPK examples, check out my EPK for my 2023 album and also this list of EPKs from Bandzoogle. Steal ideas and make them your own!

Photo credit: Possessed Photography

A music career is like running a business. And every business owner will tell you, you have to adapt to the changes in your industry and in the world at large. So as an indie artist doing everything yourself, you need to know how to pivot your music career when the industry pivots.

How the Music World Has Changed

The music industry has undergone drastic transformations over the past 20 years. With the internet came a whole new set of opportunities and problems for musicians.

Looking back, music piracy seems inevitable. From there, we got music streaming, which now dominates the music world. This led to the downfall of the sale of physical CDs and the birth of music distributors, CD Baby being the first one accessible for indie musicians.

The internet and other technological advances put more power in the indie artist’s hands. Musicians were able to put their songs in the same places as the big label artists, which was near impossible before the internet. Now, no-name artists can become national or worldwide sensations thanks to social media.

To make a living 20 years ago, you pretty much had to get signed, record an album, then tour, tour, tour and sell merch. Thanks to the internet, you have so many other options for income sources.

However, copyright laws in the United States have not kept up with the advancement of technology. And with AI music here, we need to start tackling copyright and privacy concerns.

How To Adapt To the Changing Music Industry

Now let’s talk about some practical ways to adapt to whatever changes will come in the music industry. We don’t know what the music industry will look like in 5, 10, 20 years. So it’s best to build practices that will prepare us no matter what.

Stay Informed and Educated

Keep yourself updated on industry trends, technology advancements, and changes in listener behavior. Read reliable news sources (like this one), listen to podcasts, and stay in conversation with the musicians in your life.

Learn about music promotion, and the business side of the industry. Understand the basics of copyright, licensing, and contracts to protect your work and make informed decisions (or work with a music lawyer).

Keep Your Digital Presence

Maintain a strong online presence through social media, streaming platforms, and your own website. Engage with your audience, share updates regularly, and continue to build your email and texting lists so you can stay in touch with people regardless of changes with platforms.

Stay On Streaming Platforms

Embrace streaming platforms like Spotify, Apple Music, and others. Boycotting them only makes it harder to get discovered by fans. So create playlists, encourage fans to follow you, and make sure you have access to the backend artist view of these platforms so you can understand your listenership better.

Diversify Your Income Streams

Don’t rely solely on one income source. Stay open to multiple revenue streams. Some of the most common ones right now are streaming, merch, live performance, sync licensing, and producing other artists. But there are so many others, and the opportunities will change over time. So always be looking for how you can use your skills and songs to bring in money.

Focus On Building a Fanbase

Focus on building a loyal fanbase rather than trying to get as many followers as possible. Yes, you always want more people to find you, but focus on connecting with your fans. Engage with your audience, respond to comments, and create a sense of community. Word-of-mouth is powerful, and a dedicated fanbase can help you navigate changes in the industry.

Collaborate and Network

Collaborate with other musicians, producers, and industry professionals. Cross promotion is a powerful tool.

Step Outside Your Comfort Zone

While maintaining your artistic integrity, be open to experimenting with your sound. Trends in music can change, and adapting your style (without selling out) can help you reach a broader audience.

Embrace Technology

Explore new tech and tools that can enhance your music creation and promotion process. New things can be scary, but that’s mainly because we don’t understand them at first. Do your best to understand technology so you can decide if you want to use it.

Attend Industry Events

Attend conferences, workshops, and industry events to stay connected, learn from others, and discover new opportunities. Getting to know people at these events can also be invaluable for your career.

Photo credit: Jordan McDonald

I recently went to a concert to see Kings of Convenience, a folk/pop duo from Norway. They’re one of my favorite bands, and I also learned some things from their performance. So I want to share the lessons I picked up from this show.

(Almost) Flawless Performance

The two guys in Kings of Convenience each played an acoustic guitar. One had a nylon string guitar and the other had a steel string guitar. And they played flawlessly with each other. Almost.

Maybe they made multiple mistakes, but there was only one moment where I noticed one of the guys messed up. He played the wrong chord then quickly got back on track. Other than that, they sounded as good as they did on their records.

My point is, when you play a show, your performance needs to go smoothly. You might make a mistake or two because you’re not a robot. But you need to have practiced enough that you don’t even have to think about the next chord or next lyric or if people are getting their money’s worth.

It will be a better experience for the audience and you’ll feel freer to enjoy yourself.

Having a Good Time

It was clear the duo were having a fun time. During songs, they would look at each other and smile or stand back to back as they played their guitars. And in between songs, they would say things that made the other smile.

They were clearly enjoying their night.

And when a performer is clearly having a good time, it encourages the audience to have a good time. Because a good time is infectious.

So make sure you’re having fun at your shows. Your audience will pick up whatever vibe you’re putting off.  

Stories

In between several songs, one or both of them told stories. They would talk about what inspired a song or where they were when they wrote it. One of the guys even made up a whole story about a guy who was eating at a diner down the road, and it led them into the next song.

Stories are engaging. Humans are curious and want to know what happens next. So tell the stories of how your songs came to be and include any interesting factoids people may not pick up on by just listening. 

Roster of Performers

For the first half of the show, it was just the two main guys. But then they brought on a drummer and bassist and gave them each a proper introduction. The four of them played the rest of the set and also the encore songs.

Bringing these new performers out acted as a reset button for the audience. It helped us forget we had already been standing on a cement floor for 45 minutes to an hour. It made things a little more interesting and gave the songs a whole new, higher-energy feel.

Try a version of this at your next concert. If you can’t bring a full band on, bring one other musician or singer on stage with you for a few songs. I did this at one of my house shows and it made my whole set more dynamic and interesting.

Crowd Engagement

Throughout the night, the duo joked with the audience. They encouraged conversation. They looked out into the faces of the people, which goes a long way.

There were several times they had to tune their guitars, which left the room quiet for a minute or so. One of these times, they asked if anyone had any questions while they tuned. This led to them answering which of their songs was their favorite. It led to stories about where they had lived over the years. It led to to conversation.

Remember that the audience is made up of people. Talk with them, joke with them, look them in the eye. This is a huge part of giving someone a memorable experience at your concert.

Me at a recent sold out/at capacity house concert

I recently played an at-capacity (AKA sold out) house show with a fellow musician. Some things went wrong, but mostly it was a successful and very fun evening for everyone involved. So in case you’ve been thinking about playing a house concert, here’s what I learn from the experience.

Find a Host

The first step is to put your feelers out there for someone to host the concert in their home. For this reason, it’s best to play in a town or city where you have friends. That way, you can ask them directly and then they can invite their friends.

Here are the details to hash out with the host…

Ask them how many people can comfortably fit in their space. This will tell you how many RSVPs to offer.

Figure out what the host will and will not provide, like drinks and/or food.

Make sure there’s sufficient parking.

Work out the compensation agreement, if any. Here are a few options:

1. Friend host: if the host is your friend, they may be cool hosting the show for free just to support your music.

2. Upfront fee: this is when the host pays you a set fee upfront then can recoup that fee by selling tickets or donations. Then any amount above the recouped amount would be split between you and the host.

3. Percentage of tickets/donations: this is when you and the host agree to a percentage they will get of the tickets/donation money. Because it will be a small audience, the host’s cut may be small.

4. Paid in merch: you can offer to give your host a merch bundle as a thank-you and instead of giving them a cut of the tickets/donations

Do a Joint Show

Because I did a show with another artist, specifically a local artist, we were able to pull twice as many people as either of us would’ve been able to alone. Also, my fans got to hear his music and his fans got to hear mine.

And even though we were both acoustic acts, it gave people two different vibes to enjoy. He was more soulful acoustic and I’m more sad/bittersweet acoustic. It adds variety and makes the night more interesting.

Collect RSVPs

There are many reasons to collect RSVPs for your house show…

First and most obvious, you’ll know how many seats to have available.

Second, you don’t want to post the host’s home address all over the internet. So by collecting RSVPs, you can email the address only to RSVPers.

And third, all of the emails you collect from RSVPers go onto your email list. I would suggest sending a follow-up email after the concert to let the RSVPers know they’re now on your email list and will be getting updates about your music (and make it clear how they can unsubscribe).

Consider a “Suggested Donation”

I’ve always done a “suggested donation” instead of selling tickets. Why? I want people to come to the concert even if they don’t have the money in their budget, or if they just want a free night out. Then if I wow them, they can make a donation at the show.

And what usually happens is that some RSVPers donate much more than the suggested amount while some people don’t donate anything. So in my experience, it ends up averaging out.

When To Post on Social Media

I suggest doing an announcement on social media about 4-6 weeks before the show, then take a break from talking about it. Then during the two weeks leading up to the house show, start getting more consistent with posting the date and city of the show and how people can RSVP. Then do a last-call post a few days before the show, making sure you mention you’ll be sending the address only to RSVPers the day before the show.

How To Email Your Subscribers

About 4-6 weeks in advance, email your subscribers who are in the zip code of the concert location. Then shoot them another email a week before the show. Usually, your email subscribers are more receptive to each communication, so you don’t need as many announcements. And you don’t want to send too many emails that people feel like they’re getting spammed.

Prepare for Your Performance

At my recent house show, my guitars kept going out of tune. Even though I tuned them, there were points where they got worse. Fortunately, the audience was amazing and chill and we all had a laugh about it.

So here’s what I suggest: Run through your entire set in your bedroom as if there’s a crowd there. Figure out what you’ll say in between songs. Plan for any changes in tunings. Make notes about what needs to change, what songs should be moved to another spot, etc.

Promoting Your Merch

At my house show, the other artist decided to drink hot cider from one of my merch mugs, and he plugged my merch table a few times. But you may not be so fortunate.

I suggest plugging your merch table toward the end of your set, maybe before you play your last 2-3 songs. Then before your last song, tell everyone you’ll be hanging out by your merch table and you’d love to say hi. I did this and sold some T-shirts.

Talk To People, Be a Normal Human

When the show is over, stick around and meet the people who just sat through your set. Thank them for coming and say, “It’s good to see you.” Be a normal human and socialize and have conversations. Meeting the people who listen to your music is one of the best parts of being a performing musician.

Photo credit: Emma Simpson

As a long-time independent musician, I know how hard this life can be on one’s mental health. I’ve taken a break before. I’ve felt like I should just quit. Things can get dark if you’re not careful. So I want to talk about how to care for your mental health as an indie musician.

The Pressures of Being an Indie Artist

As an indie musician, you do it all. Maybe you have a small team, but most of us are out here doing it all on our own. Regardless, here are the biggest problems I see indie artists struggling with regularly…

Comparison

Have you ever gone down the rabbit hole of comparison on Spotify? You land on an artist’s Spotify page and immediately look at their monthly listenership and stream counts. And then you compare that to your Spotify stats, knowing you’re nowhere near their level of “success.”

This is a prime example of the comparison trap, but there are so many chances for indie artists to compare themselves to others. You start beating yourself up because you’re not as “good” as another artist. And that’s when you begin digging your own grave.

Perfectionism

Perfectionism freezes so many aspiring artists. They think everything they make has to be absolutely perfect. But you will never reach perfect. Because when you finally get to where you previously thought perfect was, it has moved further down the line. Your taste has gotten better, so the bar for perfect has moved.

I’m not saying you should settle for okay. Do your best. Try to make the most meaningful music you can. But also recognize that you could endlessly tweak a song. Instead, focus on what moves you. If a song makes you feel something, put it out.

Financial stress

If you work a cushy day job or career position and you make music at night and on the weekends, you don’t feel the financial stress of being a working musician. And that’s totally fine. Nobody wants financial stress.

But if you’re giving a music career a proper go, you probably feel a bit of stress around money. Being a full-time musician is a hustle. You’re doing whatever you can to make money with your musical skills. And for many working musicians, money is tight.

Balancing creativity and business

As an indie musician, you’re running a business. But you’re also the creative force behind the business. So it can be challenging to play both of those roles and still feel like you’re staying authentic.

You will have to learn how to compartmentalize. Art over here, business over there.

Unclear goals

Nothing feels like flailing in the ocean than not knowing where you’re going. If you know you want to be a full-time musician but you’re not sure exactly what that looks like, that’s stress-inducing.

Practical Steps To Care for Your Mental Health

Okay, now that we’ve talked about the main stressors and depressors for indie musicians, let’s talk about solutions. Because whether or not you make a career in music, it’s essential to prioritize your mental health. Here are some strategies to cope with the pressure of being a musician…

Set realistic goals

Find your ideal career, specifically what it involves. Then figure out what goals would get you there. Then break down those goals into things you can do today. This way, you can do one small thing each day and know you’re making progress. But you’re less likely to feel overwhelmed.

Be realistic about what you can accomplish

Be realistic about what you can accomplish in a day. It’s okay if things take longer than expected or if you need to adjust your plans. But you don’t want to overdo it or overwhelm yourself.

Celebrate your wins

Every time something good happens, I write it down. So I have a list of accomplishments for the past few years of my music career. Whenever I feel discouraged, I skim through this list to remind myself of how far I’ve come. You need some version of this. Celebrate and track your wins. (You can use my free worksheet to do this).

Balance work and rest

I can’t emphasize enough the importance of a calendar. It helps you know when you have time to do music and when to rest. It helps you separate the different parts of your life, including creating music and doing the business side of music. You’re not lazy if you need to rest after working.

Connect with others

Community keeps you afloat and can even help you thrive. As an introverted recluse, even I recognize the necessity of community for mental health. So go to open mics and meet people. Find a songwriter’s circle. Hit up a local musician doing what you’re doing and offer to buy them a coffee. Get connected.

Stay physically active

A walk around the block every day can do wonders for your mental health. It’s simple and stupid and annoying. But it helps.

Financial planning

Create a realistic budget and financial plan for your music career. Track how much you make from music each month, then don’t spend more than that on music stuff. This will help you stay afloat and even save up for that new piece of gear.

Learn to say no

Derek Sivers (CD Baby founder and author) says if something isn’t a “hell yes” then it’s a “no.” This way of thinking helps you focus more on your yes’s. When you’re selective about the opportunities and projects you take on, you can give the important stuff more of your creative energy.

Professional help

I think everyone should try therapy at least once. A trained therapist can give you coping strategies and a non-judgmental space to discuss your feelings. The goal is to learn tools to help you cope on your own.

Mental Health Resources for Musicians

Clearly, I’m not a mental health professional. I’m just a fellow indie musician passing along what I know from research. So I want to point you in the direction of some organizations and programs that offer practical help for those struggling with their mental health.

MusiCares

MusiCares, run by the Recording Academy, offers a bunch of health and human services to the music community. This includes mental health services, financial assistance, and addiction recovery resources.

Backline

Backline is a non-profit organization that provides mental health and wellness support to music industry professionals. They offer a helpline, therapy grants, and wellness programs.

Help Musicians UK (United Kingdom)

Help Musicians UK provides a range of support services, including a 24/7 helpline, financial assistance, and mental health resources specifically designed for musicians in the UK.

The SIMS Foundation (Austin, Texas)

The SIMS Foundation offers mental health and substance use recovery services to musicians, music industry professionals and their families in the Austin, Texas area. I personally benefitted greatly from this organization when I lived there.

CrewCare (Australia)

CrewCare is an Australian organization that offers mental health support for music industry professionals, including roadies, crew members, and technicians.

Photo credit: Markus Winkler

We’ve already seen so many court cases over copyright infringement. Sometimes, one artist has a similar idea to another artist and inadvertently makes a song that sounds similar. And sometimes it may be on purpose, who knows. The point is, you need to protect yourself. So let’s talk music copyright.

(Note: I am not a lawyer or copyright expert and this is not legal advice. I’m a fellow indie musician who did a bunch of research so you don’t have to. I’ve linked to all my sources within the article).

What Does Copyrighting Your Music Do?

Let’s ask the United States Copyright Office what copyrighting your music does.

“As the owner of your music,” they write, “copyright gives you the right to make and sell copies, distribute those copies, make new works based on your work, and…publicly perform or display the work.”

In other words, copyrighting your music provides legal protection for your creative work. Specifically, here’s what a copyright gives you…

Exclusive Rights. Copyright grants you, as the creator or copyright holder, exclusive rights to your musical work. This means you’re the only one who is allowed to reproduce, distribute, perform, and display your music. And this applies internationally.

Legal Recognition and Ownership. A copyright gives you legal and public evidence that you’re the rightful owner of the music. You’ll need this in case there are legal disputes.

Prevention of Unauthorized Use. A copyright acts as a deterrent against unauthorized use of your music. No one is allowed to use, reproduce, or distribute your work without your permission.

Protection Against Infringement. If someone has the audacity to use your music without your permission, a copyright lets you to take legal action against them for copyright infringement. This may involve seeking damages or stopping the unauthorized use of your work.

Ability to License. With a copyright, you’re allowed to license your music to others. This includes allowing your music to be used in films, commercials, TV shows, and video games.

Posthumous Protection. Copyright protection lasts for a specific duration, usually for the life of the creator plus a certain number of years (70 years in many jurisdictions). During this time, you or whoever controls your estate has control over how your music is used.

Resale and Transfer Rights. A copyright allows you to sell or transfer your copyright to others.

What’s a “Poor Man’s Copyright”?

A “poor man’s copyright” is when you try to establish a form of copyright protection for your music without officially registering it with the copyright office.

The idea behind it is to create a dated record of the music’s existence and authorship, using a low-cost and informal method. Usually, this involves mailing a CD of your music to yourself so it’s stamped and dated by the USPS, and then you keep the package sealed and stored away just in case.

To be clear, this is not a legally recognized alternative to official copyright registration.

The U.S. Copyright Office does say “…your work is protected by copyright from the moment it is fixed…”. However, registering an actual copyright gives you more benefits and overall more reliable protection.

Musical Composition vs. Sound Recording

When you record a song, you’re very often generating two distinct copyright-protected entities: a musical work and a sound recording. When you register a copyright, you need to copyright both the musical work and the sound recording.

The sound recording refers to the actual recording of a song, which includes the music, lyrics, or any other content recorded onto a CD or a digital track.

The musical work refers to the fundamental composition of a song, which includes the underlying music and any accompanying lyrics. This type of work is typically owned by a songwriter or composer.

How To Copyright Your Music

The two main benefits mentioned by the U.S. Copyright Office are “access to federal courts in the case of infringement” and having “a public record of your ownership.” So once you’re ready to copyright your music, here are the ways you can do that:

1. Standard Application (register an individual sound recording or musical work)
2. Group Registration of Unpublished Works (register up to 10 unpublished works by the same author)
3. Group Registration of Works on an Album of Music (register up to 20 musical works or twenty sound recordings by the same author)

What To Do If Someone Infringes On Your Copyright

If someone infringes on your music copyright, here’s what you can do to address the situation…

1. Gather Evidence: Collect evidence of the infringement, including any relevant dates, communications, or instances of unauthorized use. Make sure you have a record of your copyright registration.
2. Contact the Infringing Party: Send a cease and desist letter. Clearly state your ownership of the copyrighted music, describe the infringement, and demand that the infringing party cease using your music immediately. Include evidence of your ownership and give them a reasonable deadline for them to comply.
3. Use Digital Millennium Copyright Act (DMCA) Takedown: If the infringement happens online, you can submit a DMCA takedown notice to the website hosting the illegally used music. Most online platforms have procedures to do this, so follow the website’s instructions.
4. Seek Legal Advice: If the infringing party does not comply, you can explore your legal options. So consult with an intellectual property attorney to figure out if you have a strong enough case. You may be able to solve the issue through mediation rather than filing a lawsuit, which would be much more affordable for everyone involved.
5. File a Lawsuit: If the infringing party does not comply and if your lawyer thinks your case is strong enough, you can file a lawsuit. Your attorney will guide you through the legal process, and if successful, you may be entitled to damages and injunctive relief.

This whole process will be so much smoother if you register your songs with the U.S. Copyright Office. Save yourself a potential headache by spending a little bit of time and money to copyright your music today. 

P.S. – what about A.I. and copyright? The U.S. government is still trying to figure it out.

Photo credit: Erwi

Mixing music can feel overwhelming to those who haven’t ever tried it. And that makes sense. It involves lots of tools and settings and technical stuff. But is mixing also an artistic endeavor?

The Importance of Both

So is mixing music more technical or more artistic? Short answer: it’s equally both. It’s important to know the technical aspects of EQ, compression, phasing, etc. But once you know those things, you can really get into the creative side of mixing music. You can start doing what you want to do even if it’s not technically “right.”

The Technical Aspects of Mixing Music

Here are the main technical aspects of mixing that you should know before you get all artsy with it…

Equalization

Equalization (AKA EQ) is a must-have tool for mixing. It basically lets you control the frequencies in a sound. Here’s a simple breakdown:

Frequency bands: sound is made up of different frequencies, like high-pitched tones (treble), mid-range tones, and low-pitched tones (bass). EQ divides these frequencies into bands, each representing a specific range.

Boost and cut: using these bands, you can boost (increase) or cut (decrease) the volume of specific sections of frequencies.

Q Factor: controls the width of the frequency band you’re adjusting. A narrow Q focuses on a specific frequency, while a wider Q affects a broader range.

High-pass and low-pass filters: high-pass filters allow higher frequencies to pass through, cutting the lower ones. Useful to remove unwanted low-frequency rumble. Low-pass filters do the opposite, letting lower frequencies pass and cutting higher ones. Useful for taming excessive brightness.

Shaping sound: EQ helps shape the overall tonal balance of your mix. It’s like adjusting the bass and treble on your car stereo, but much more precise.

Fixing issues: EQ can help fix problems like muddiness, harshness, or imbalance in a recording. Ideally, good engineering and production would avoid these problems. But EQ can help if needed.

Creating space: EQ is a powerful tool for carving out space for different instruments in a mix. By adjusting the frequencies of each instrument, you can make sure they complement each other rather than compete.

Just remember, while EQ is a powerful tool, it’s important to use it intentionally. Overdoing it can lead to an unnatural or unbalanced sound. A good mix often involves a delicate balance of EQ adjustments to enhance the clarity, warmth, and character of each element in the music.

Compression

Compression helps control the volume of sounds, making the dynamic range sound more balanced. Here’s a breakdown of compression…

Dynamic range: if you have vocals that go from whispering to shouting (AKA dynamic range), compression can help maintain a consistent volume by reducing the loud parts and making the soft parts sound more prominent.

Attack: a setting determines how quickly the compressor responds to a loud sound. A fast attack catches sudden peaks, while a slower attack allows some transients to pass through before kicking in.

Release: controls how long it takes for the compressor to stop reducing the volume after the loud sound has passed.

Threshold: is the volume level at which compression starts to kick in. If the sound goes above this level, the compressor starts working.

Ratio: determines how much the compressor reduces the volume once the sound exceeds the threshold. For example, a 4:1 ratio means for every 4 dB (decibels) above the threshold, the compressor allows only 1 dB through.

Remember, just like EQ, compression is most effective when used subtly and with a specific purpose. Too much compression can make a mix sound lifeless or unnatural. The goal is to find the right balance that enhances the overall sound without sacrificing the dynamics and character of the music.

Phasing

Phasing in music happens when two or more audio signals that are very similar in frequency interact with each other in an undesirable way. This interaction can result in a phenomenon where certain frequencies reinforce each other, while others cancel out.

If the peaks of one wave align with the peaks of another, they add up and get louder (constructive interference). If the peaks of one wave align with the troughs of another, they cancel each other out (destructive interference).

Phase shift happens when one of the signals is slightly delayed compared to the other. This delay causes the peaks and troughs of the waves to align. You don’t want this. It can lead to a thin or hollow sound.

Usually, phasing happens when you’re recording in stereo with two microphones. And the distance between the microphones can create phase issues, usually in the lower frequencies.

If you realize there’s a phasing issue during the mixing process, you can adjust the timing or alignment of the audio signals with a phase-correcting plugin or potentially by flipping the phase of one of the signals.

The Artistry of Mixing Music

Once you know and are familiar with the technical aspects of mixing music, you can explore the artistry of it. You have to know the rules before you can break them.

Making yourself feel something

@greazywilmusic #stitch with @Beat Kitchen Production School #mixing #greazywil #music #artist #engineer #producer #mixer #songs ♬ original sound – GreazyWil

Making music is all about making you feel something. If it makes you feel something, it will make other people feel something. So if you approach mixing music with this mentality, you’ll be thinking more like an artist. Make mixing moves because it makes the song more impactful, even if it doesn’t include all the “right” steps or processes.

“If it sounds good, it is good”

You may have heard people say, “If it sounds good, it is good” or “Just use your ears.” But the thing is, these phrases are only helpful for people who are familiar with mixing. If you’re new to mixing music, these are not helpful pieces of advice.

First, you need to learn the technical aspects of mixing. Then, once you know the general concept of mixing, how to use the tools, and what actually sounds good, you can start to tell yourself, “This sounds good, so I’m not going to mess with it.”

One way to speed up the process of knowing what sounds good is to use reference tracks. This is when you listen to songs that you love that have been produced and mixed by experts. By listening to these professionally mixed tracks in your own mixing environment, you’ll have a better idea of how to make your mix sound good.

When it comes to mixing music, it’s all about finding the intersection of the technical and the art. It starts with knowledge and it leads to artistry.

It’s that time of year again. Artists are posting their Spotify Wrapped, a collection, synthesizing, and summarizing of their streaming stats. For some artists, it’s an encouraging season and it’s fun to celebrate with their fans. But for many artists, it’s a “dark night of the soul” type of vibe. It’s complicated. Here’s why, and here’s how you can approach it (this year or in future years).

The Comparison Trap

Comparison is the biggest hangup for many indie artists, regardless of their level of success.

It’s natural to be curious about industry benchmarks and how other artists are doing. But it’s so important to approach it with a healthy perspective.

Comparing your stats with other musicians’ stats is dangerous for many reasons. It’s bad for your mental health and your artistic growth.

Whenever you’re tempted to compare your stats with someone else’s, keep these things in mind…

Success looks different for each person

Every musician’s path to success is unique. Success in the music industry doesn’t follow a one-size-fits-all formula. What works for one artist may not work for another. Comparing your stats will lead to unrealistic expectations of yourself and frustration if your trajectory doesn’t mirror someone else’s.

We all have different starting points

We each start with different opportunities and natural abilities. We have different backgrounds, financial support, connections, and resources. So comparing stats without considering these factors is misleading and demoralizing.

Quality vs. quantity

Streaming stats do not equal success. Numbers don’t necessarily reflect the quality of your work. So obsessing over the number of Spotify followers, streams, saves, playlist adds, and likes will only distract you from creating meaningful and authentic music. Quality and artistic integrity should be your primary goals, not just the quantity of engagement.

Mental health impact

Constantly comparing yourself to others takes you down a dark road. It can make you feel inadequate, jealous, or like an impostor. That’s why it’s important to prioritize your mental health and focus on your personal growth rather than external benchmarks.

Fluctuating metrics

Spotify stats can fluctuate for many reasons, like changes in the algorithm or the effectiveness of your marketing efforts. Standing your success on these metrics leads to frustration.

Long-term artist development

Building a sustainable and fulfilling music career requires long-term commitment and growth. Comparing your short-term streaming stats to others’ stats probably doesn’t accurately reflect your potential for long-term success and development as an artist. Think long-term.

Different artists have different audiences

Your music may not be generic pop that will appeal to most passive music listeners. My sad folk music isn’t going to appeal to as many people as Olivia Rodrigo’s heart-broken rock-pop songs. So just focus on your unique audience instead of trying to appeal to everyone.

Spotify and Artists: a Toxic Relationship

Now we need to talk about the toxic relationship Spotify is causing with artists. Namely, how they value the music based on what and how they pay out streams.

First, there’s the average payout of $0.003 per stream. Initially, the low payout is why some artists boycotted the streaming platform, like Taylor Swift, The Beatles, Neil Young, and Joni Mitchell. As an artist myself, it does feel insulting.

Another more recent issue is that Spotify will not pay artists for songs that get less than 1,000 streams in 12 months. This will increase the per-stream rate for songs that do get at least 1,000 streams, but it’s only alienating smaller artists.

All this to say, even if you’ve gotten streaming stats you’re happy with, posting your Wrapped may feel strange. You’re basically giving Spotify free promo, but they’re not paying you fairly. So, while I usually post my Wrapped, I understand why some artists wouldn’t want to.

How To Approach Spotify Wrapped

Here’s how to approach Spotify Wrapped every year. Here’s how you should approach your creative output and your entire music career.

Only compare yourself to yourself.

Only measure your growth against yourself from last month, last year, 5 years ago. Only focus on how far you’ve come and how much better your music is now than it used to be. Don’t pay attention to other artists’ streaming numbers.

This is easy to say but hard to do. So I recommend writing down your goals and where you want to be as a musician. Then just focus on pursuing that.

Photo credit: Caspar Camille Rubin

The internet has made it easier than ever to share your music with more people than ever. One way you can do this is through live streaming. Artists do make money from live streaming, but is it anything substantial? If so, how do you get into it?

How Much Money Streamers Make

Like most career paths in music, a small number of artists succeed at making a living while most others make a middle- to lower-class income from the same path. Some artists make a living from live streaming. But is it realistic to think you’ll be able to do the same? Let’s look at the numbers.

According to StreamYard, if you have an average of 5-10 daily viewers on Twitch for 30 days, you can make $50-200 a month. While if you have 10,000 average daily viewers, you can make $30,000 a month. This income is a combination of viewer tips, subscribers, and affiliate marketing.

According to QQTube, the average per-view payout on YouTube Live is $0.018. So if you stream every day and you average 100 viewers a day for 30 days, you’d make $50. While if you have 1,000 viewers a day, you could make about $540 in a month.

Ultimately, it can be difficult to make significant money as a live streamer. This is the overarching feeling in this conversation of streamers.

One streamer said they work between 12-18 hours a day on streaming and they make less than half of what a part-time fast food job earns. Another person said they’ve been streaming for a year and made about $3,000 total. And another commenter said they invested $2,000 into their live-streaming setup and made $200 that year.

Can You Make a Living Live Streaming?

Based on the numbers and the input of live streamers, you need to approach streaming with a healthy and realistic mindset. Like most things, you should do it because you enjoy it, not as a cash grab. Yes, you can make money doing it, but most streamers won’t make a living solely from streaming.

“Going into streaming to make money, you’re gonna have a bad time,” one streamer said.

So if you really love streaming, then go for it. As you build your music career, it’s all about focusing on the things you enjoy most, and then trying to make money from those things. And if live streaming is one of those things, do it!

How To Succeed at Live Streaming

According to people with experience in live streaming, here are the factors you should focus on as you start your streaming endeavors.

Streaming consistency

The time invested in live streaming significantly impacts your earnings. Generally, dedicating more hours to streaming increases the likelihood of attracting viewers, subscribers, and donations. Consistent streaming builds a loyal audience base over time.

Content quality

The quality of your content may be just as important as consistency. Streamers who deliver engaging, entertaining, and interactive streams are more likely to get more attention. So make sure you have high-quality audio and video, an interesting background, and engaging energy.

Audience connection

Engage with your viewers through chat, responding to comments and questions, and fostering a welcoming and inclusive community. This will make people feel seen and want to come back to your future streams.

Collaboration and networking

Collaborating with fellow streamers and engaging in the community of the platform you use can broaden your reach and exposure. This can lead to cross-promotion, a win-win for both you and the other musician.

Income diversification

Successful live streamers almost always make money in multiple ways. They get tips and subscriptions, sell merch, get sponsorships, and do affiliate marketing. This is the way to make a reliable income streaming.

The Best Websites and Apps for Live Streaming

If you’re serious about live streaming, you might as well harness the money-making opportunities of all the platforms. The most well-known places to stream and make money today include Twitch, YouTube, Facebook, and TikTok.

But to make your life easier, you may want to use a multistreaming service that lets you go live on all of your platforms at the same time. There are several of these services, but some of the most relied-upon places are Restream, StreamYard, and Switchboard.

Photo credit: Faith D

Playing music on the street is a grind. It can take a lot of trial and error and days with little pay. On the other hand, you can have very good days where you pull in hundreds. So the question is, does it end up being enough in the end? Can you make a living from busking?

How Much Do Busking Musicians Make?

Here’s the thing with making money as a busking musician: it fluctuates aggressively.

For example, this relatively unknown busking duo made $3 in two hours, but they also made $98 in two hours. This renowned violinist made $32 in 43 minutes. And based on the responses in this Reddit thread of busking performers, the hourly wage for a busker ranges from about $30 an hour up to $100+ an hour.

So it’s all over the place, even if you’re a really skilled musician. Yes, you can make a living playing music on the street. But it seems to require long hours, a knack for entertaining, and many days where you only make a little bit of money. So you have to love performing, even if no one’s listening.

Successful Busking Musicians

Let’s look at some good examples of how to perform on the street. I know there are plenty of busking musicians in the United States, and many of them are very talented and make decent money. But a few musicians that come to mind include Marc Rebillet, Ed Sheeran, and Allie Sherlock.

Rebillet makes up music on the spot, using a looper, a MIDI controller, and a laptop. All of this sits on top of a fold-out table that he sets up around New York City. His performance energy is electric. His positive vibe is infectious. He’s funny. And he’s very musically talented.

Then there’s Sheeran. He started out busking, playing anywhere he could, catching as many ears as possible. He started out with a loop pedal, his guitar, a decent talent at beatboxing, and a library of cover songs. He kept at it, and he’s doing just fine. I’m not saying his level of success will happen to you, but good things can happen from busking.

Lastly, we have Sherlock. According to her YouTube uploads, she’s been busking for at least 7 years. She was a kid when she started, playing music for people who mostly weren’t listening. And now, her recent videos show a large crowd gathering as she performs with her band.

Tips To Help You Do Well Busking

If you’re looking to give busking a try, I’ve crowd-sourced some tips from this thread and expounded on each.

Pick a good location

For busking to work, people need to hear you for long enough to decide if they like you or not. And they need to have money on them, so places like outside a mall, near small businesses, or at/near a farmer’s market are good spots to try.

Pay attention to the time

Before you set up and start playing, scout your location at different times of the day. Try first thing in the morning, at lunchtime, and as people are getting off work. Pay attention to when there’s the most foot traffic at different locations and take notes. You could then hit a different location each day depending on when they’re each busiest.

Have a unique hook

If you have some way to get people to stop walking out of interest, you’ve got a hook. It could be your look, your looping pedal, your unique cover of a pop song, or playing an uncommon instrument. You need something to grab people’s attention so they stop and listen.

Play famous songs in your style

People love hearing songs they know but played in a new way. So find some pop songs that everyone knows and play them in your style. You’ll enjoy it and so will others. Playing covers is the way to succeed as a busker.

Charisma and confidence

Part of busking is engaging with people. Yes, you need to be talented. But something as simple as making eye contact with people can make a difference. If you can talk and laugh and joke with people in between songs, even better. If you can make someone’s day better with an interaction, that will increase your chances of making an impact and getting more tips.

Live stream your performance

On top of performing on the street, you should consider streaming your performance on your social media channels. Places like Twitch and TikTok Live give viewers the opportunity to tip, so it’s another way to engage with fans and make extra money.

Get people in their emotions

Your performance needs to make audience members feel something. It needs to make them smile or tear up or feel seen. This will make the performance more memorable.

Photo credit: Ben Collins

Theo Katzman is a songwriter, multi-instrumentalist, solo artist, and member of the funk band Vulfpeck. And he recorded the songs on his album Be The Wheel live, all one takes, with a band, all straight to tape. It’s a bold move, but he has a clear reason for doing it this way.

It’s Not Digital Vs. Analog Recording

In an interview with Ari Herstand (and also in his appearance on the Third Story podcast), Katzman talks about his new approach to recording: doing it live. One takes, right to tape, minimal editing.

He makes it clear that he’s not trying to say analog recording is better than digital recording. It’s deeper than that. It’s about performance.

“I don’t feel religious about the sonics of tape,” he told Herstand. “…What’s much more important is the performance, getting a performance, whether you do it live or not.”

He says if you do record digitally, which most indie artists are, then record a performance of your voice and instrument instead of recording 50 takes and then picking out the best options from each take to comp the final take.

“You don’t even have to put it out,” he said. But do a full take just to see what you get.

“It’s about committing to a performance,” he said.

The Temptation To Edit Into Oblivion

Why might a one-take performance be better than editing together the best parts of many different performances?

Because nowadays, it’s easy to edit your track into oblivion, into humanless perfection.

“Recording digitally with the ability to overdub every part…it can sound incredible…and I’ve made many albums that way,” he said. “But I realized that if the task is documenting the fiercest Theo Katzman, the most vulnerable Theo Katzman, most raw – if that’s the task…there’s only one way we can do that.”

And that’s through an honest, real, sometimes imperfect performance. 

Imperfections Are Human

Showing imperfections is human. It’s authentic.

“When you let [imperfections] be heard,” Katzman said, “The audience has this experience of realizing that you are playing at your edge, and then you’re going beyond it. And that is the most thrilling thing for them.”

Why do imperfections work so well sometimes in recordings?

Because the 2-3 notes that are slightly out of tune remind the artist and the listener that the rest of the notes are totally in tune.

The Reward of Recording Authentically

Katzman says, yeah you could make your recordings perfectly in time, in tune, and super polished. But he also says, what if you record an authentic performance and it resonates with people?

He said making a living in music is ideally a second-hand result of focusing on authentic performance during the recording process.

He wants every musician to engage “in processes that really force us to accept ourselves and hopefully learn to love ourselves.”

“Imagine doing that and then making a living,” he said. “Wow, you’d be kind of like, the happiest person that ever lived. That’s not bad.”

And Herstand pointed out that Katzman’s fans are loyal fans. 

Katzman sells out venues that seat 1,000-3,000 people. He’s built his career deep, not necessarily wide. He doesn’t have crazy high streaming numbers (but make no mistake, they’re still impressive). But he’s doing music as a career because he lets his humanness shine through in his songwriting and recording.

And that resonates with people, people who stick around and support him as an artist.

Tips for Recording Your Performance as a Solo Artist

So how do you capture an authentic performance in a recording? Here are some tips to try if you’re a solo artist recording from home (as most of us are)…

Ask a friend for help

Get a music or engineer friend involved in your recording process. It takes some pressure off of you so you can focus on the performance. This friend has to know the basics of how to use a digital audio workstation (DAW).

Find your BPM

Before you hit record, you have to settle on the BPM of the song. Unless you want to have an extra raw performance and don’t record to a click. But if you’ll be adding other instruments, it’s best to record to a click.

Create a generic drum beat

Create the simplest beat you can. This is just to supplement the click track and help you stick with the beat better.

Play and sing the song

Have your friend hit record. Then play and sing your song the whole way through, even if you mess up. Just keep going. Don’t focus on singing every single note perfectly, just focus on getting into the emotion of the song. Play it like you did when you first wrote it.

Add the other instruments

Once you’ve done a few front-to-back takes of your voice and instrument, now you can add other instruments if you want. But record those instruments with the same mentality. Do just a few one-take performances.

Go easy on the editing

Once everything is recorded, don’t go crazy with Melodyne if you don’t have to. Try to keep the performances of all the instruments intact. Don’t edit away the authenticity you captured.

Because really, you’re trying to get a recording of a human performing a very personal song.

“This is what I’m trying to warn about: it’s gotten too easy to avoid performing,” Katzman said. “…Performing something is the doorway to authenticity.”

Photo credit: Alexander Grey

Spotify is making a few changes to the way it pays artists, and these changes are expected to take effect in Q1 2024. But the one change we’re going to talk about is its new payment threshold.

What Spotify Is Changing With Its Payment Threshold

Spotify just confirmed that a song must generate at least 1,000 streams per year or they will not pay you for it. If your song gets 999 streams in a year, Spotify will not pay you for that song.

To clarify, songwriters and publishers are still getting paid for those streams under the threshold, which is why you should register all of your songs with a Performance Rights Organization. The only thing that’s not getting paid is the master usage, AKA the streaming royalty that gets paid via your digital distributor.

What Type of Artists This Will Help

Because Spotify is not paying out songs with fewer than 1,000 streams a year, they estimate that will move $40 million back into the royalty pool. What’s a royalty pool and how does it work?

Put simply, all of the money generated from streams in a month goes into a pool. That pool is then divided up by percentage. So if your song earned 1% of the streams, you would get 1% of the money.

So this means songs that surpass the threshold will get a higher per-stream rate. We don’t really know how significant this bump in pay will be, but every little bit helps when you’re an indie artist.

There’s a good chance artists garnering over 1,000 streams in a year rely on their streaming income to some extent. So the new payment threshold is good news for them.

We’ll call these artists middle-class musicians.

What Type of Artists This Will Hurt

Now let’s talk about indie artists below the “middle-class musician” title. These are artists just starting out or those who don’t rely on streaming to get by.

The first misconception is that these artists are not working musicians. I know of so many musicians who make a living playing shows but probably don’t get enough streams to pass this new 1,000-stream threshold. For these musicians, they will be losing money that could help them in the long run.

Another argument in favor of the new threshold is that these artists wouldn’t be getting paid anyway because distributors have a payout threshold. But a payment threshold and a payout threshold are two different things. A payout threshold is simply a delayed payment until your songs collectively (across all streaming platforms) meet the threshold, while a payment threshold means you don’t get paid for your songs at all.

Because here’s the thing, streams add up. If I have 20 songs that each get 900 streams in a year, that’s 18,000 total streams. Which, with the current average per-song rate of $0.003, that’s $54. Yes, that’s not a lot of money in a year. But for artists just starting out who don’t have a lot of expendable income, that $50 could go toward promo, guitar strings, or a new plugin.

And to be clear, low stream count does not mean “bad” music. I know a bunch of indie artists with less than 1,000 monthly listeners on Spotify that make really good music. The problem for many of these musicians is marketing. Usually, they don’t put enough effort into marketing.

But all of this aside, the biggest thing that bothers me with this new payment threshold is that if someone streams my song, I should get paid for it. Period. And this is coming from an artist who will probably benefit from the slight bump in the per-steam rate for songs above 1,000 streams a year.

Photo credit: Chris Ainsworth

The end goal for many musicians is to go full-time. That’s my goal. I want to wake up every day, make music, and do all the things needed to build a sustainable music career. But it’s not for everyone. It’s difficult. It can be discouraging. And you probably won’t get rich. But that doesn’t mean you shouldn’t go for it.

The Reality of Being a Full-Time Musician

Most full-time musicians are blue-collar, middle-class musicians. They’re making a living, yes. They can pay rent and their bills, and maybe they can afford fun stuff now and then. But they’re not rich.

The stats on how musicians actually make money are slim, but we do have some resources. We do know performing live is the main source of income for most active musicians.

It’s the main income stream for 5 of the 6 professional musicians I wrote about.

This very small study of 75 musicians shows performing is the second largest income stream.

And this study, last revised in 2015, shows us that performing is the biggest revenue stream.

Anecdotally, my friend makes a decent living playing corporate events and weddings.

Lots of artists make a living from house shows.

And most of the full-timers in this Reddit thread play a ton of shows, and it sounds like shows are their main source of income.

However, many full-timers are pulling from multiple income streams. So if you’re going to go all-in, expect to be juggling many things at once.

For example, I’m fully self-employed. I’m not a full-time musician – it’s about half music and half other random stuff. Here’s what a normal workweek looks like for me:

• Writing marketing emails for small businesses
• Writing blog posts that help other musicians (like this one)
• Producing/mixing music for other artists
• Editing podcasts for clients
• Writing songs for my next project
• Posting content that promotes my music (which leads to more song streams)
• Playing the occasional house concert
• Submitting music to the sync licensing companies I work with

See how many things I do just to get by? This is the reality for many musicians trying to make music their career. Just so you’re aware of what it looks like.

What Happens If You Fail?

There’s a saying: “There are no failures, only quitters.” As long as you’re still pursuing music as a career, you’re not failing. Yeah, maybe you’re not at the stage you want to be at (this feeling never goes away). But you’re hopefully still making progress.

If you decide to quit pursuing music as a career, that’s your choice. You’re not a failure, you’ve just realized it’s not for you. For example, this music marketer talks about how he “decided” to quit being a professional musician.

And if you decide to quit, to change paths, that’s totally fine. Like I said at the top, full-time musicianship is not for everyone. You can still make great music even if you have a day job or another career.

Just ask yourself, “Will I regret this decision when I’m older? Will I wish I had kept trying?” Really take time to think about your answer. It can bring you a lot of clarity.

What Happens If You Succeed?

Success is subjective, so you need to figure that out for yourself. But for me, the goal is to make my entire living from my musical skills. Ultimately, I want to spend every day making music or at least doing things that further my music career.

I want to continue to be my own boss and set my own schedule. And I’m not alone in that feeling.

“I’m 38 now,” one Redditor said. “And I realized several years ago that what I value most is freedom and independence. Freedom from an alarm clock. Freedom to make my own schedule and spend my days how I choose. Freedom from bosses and supervisors and corporate culture and politics. Freedom to pursue projects that excited me.”

I can confidently say that every musician who’s trying to make music their career would resonate with this comment.

This musician continued, laying out their typical daily work schedule:

1. Wake up “without an alarm clock”
2. Go for a long walk by the water
3. Come home and do some work on a side hustle or tinker around in their studio
4. Have an afternoon nap
5. Around dinnertime, pack up their guitar
6. Play a 3-hour gig
7. Connect with people, have a couple of drinks
8. Go home to their own bed beside their wife

Sounds pretty cool, right?

And this type of work life isn’t exclusive to performing musicians. Lots of people make a living from sync licensing. Or related hustles like being a YouTuber.

Whatever path you choose to become a full-time musician, it will probably involve multiple streams of income, a lot of hard work, and stamina. If you never quit, you’ll keep getting closer to your ideal career and life. 

Photo credit: Chase Yi

Whenever you see musicians complaining about not being able to make money from music, they’re probably not making money from music. Because there are definitely ways to use your musical skills to earn a part-time or full-time income.

Is it difficult? Yes. As Russ says, you have to be delusional to make a living as a musician. In other words, you have to be ridiculously passionate about music. If you are, you can provide value to listeners and get paid for providing that value.

So, below are 12 ways to make money from music. I’ve made or currently make money from most of these income streams, so I know it’s possible.

Streaming Royalties

Music streaming platforms notoriously don’t pay a ton of money. But that’s not a good enough reason to not take advantage of this passive income stream. You make a song, distribute it, and it can potentially make you money for the rest of your life.

Yeah, you need a lot of streams to make anything substantial. And we should push for better payouts from streaming platforms. For example, to make $500 from Spotify, you need to get about 210,000 streams.

But isn’t it better to make as much money from streaming as possible?

Teach Music Lessons

Whatever instrument you play, you can bring in some money by teaching others how to play it (you’ll have to be exceptional on that instrument). You can get paid $20-40 per hour, depending on how good you are and where you live.

It can be difficult to get your first students, but once you do, you’ll retain more students mainly by word of mouth. To find your first students, start with your personal network. You can also start by working with a company that finds students for you. And you can

Session Musician Work

If you’re good enough on your instrument to give music lessons, then you’re probably good enough to be a session musician.

You’ll do better as a session musician if you live in a city with a vibrant music scene, like Nashville, Austin, Los Angeles, or New York. But you can start right away by getting set up on SoundBetter and Fiverr and offering remote session work.

Play House Concerts

If you’re an artist with original music already released, don’t overlook house concerts.

They’re my favorite kind of show. As an introvert who loves people, I do better with smaller crowds. It’s not as intimidating and I get to meet everyone there. And you can be sure everyone in attendance wants to be there, as opposed to playing songs in a bar for people who don’t even know who you are.

This means house-show attendees are more likely to support you financially. Here are some resources to help you with the house concert industry:

• Team up with your friends and local fans to host house concerts in their homes
• Read No Booker, No Bouncer, No Bartender: How I Made $25K On A 2-Month House Concert Tour (And How You Can Too)
• Sign up as an artist on Side Door (they connect you with hosts)
• Apply to be part of the Listening Room Network (if you’re accepted, they connect you with hosts)

Play Live-Streamed Shows

Artists make money by live-streaming their concerts. Apparently, you don’t need many fans to make a living on Twitch. You can also make money directly on TikTok through follower “gifts” (tips).

But most importantly, it’s a fun way to connect with your fans from all over the world.

Play Corporate Gigs

Corporate gigs seem to be the secret sauce to making a living as a performing musician, as long as you’re willing to get rid of the fantasy idea that every show you play will be a sold-out theater.

I have friends who make a living from this type of thing, and I’ve played a few corporate gigs myself.

These gigs involve being background music for private parties, business get togethers, performances at senior living communities, and weddings. If you’re also a DJ, that’s a huge plus.

And, like any other type of public performance, you can earn performance royalties on top of what the client pays you.

Here’s how to get started.

Performance Royalties

Whenever you or someone else plays your songs in a public place, you are owed a royalty. In my experience, it ends up being about $1-2 per song per performance.

This can vary depending on what Publishing Rights Organization (PRO) you’re with. With BMI, I simply upload my setlist to their website and get paid every quarter. Oh, and this whole process is free.

A “public place” has to be anywhere open to the public, so house shows are not considered a “public place.” So don’t try to file for royalties from a house concert.

The first step is to sign up with a PRO.

Merch

Any shows you play, you should be selling merchandise, whether it’s in a house, at a bar, or for a corporate event (just check with the client first). For a lot of performing artists, merch sales are their biggest income stream.

For merch apparel, look for a local company that can make your custom T-shirts, hats, stickers, and whatever else your fans might like.

Sync Licensing

Sync licensing is when your song is synced with a moving image – in other words, a TV ad, show, or film.

You’re getting paid a lump sum of cash in exchange for allowing a filmmaker to use that song in their project.

Depending on the project, you can earn anywhere from $10 to thousands of dollars per song used. And you can license the same song multiple times if you’re under a non-exclusive agreement.

Plus, you’re owed performance royalties if your song is on TV (another reason to sign up with a PRO).

Produce and Mix Artists

This is currently my biggest income stream. I partner with indie artists to bring their songs to life through production and mixing.

To get started, you’ll first need to show people what you can do. This is why it’s important to have music of your own that you can send to potential clients.

Just record a song or two for starters. Then you can send those songs to fellow musicians to whom you pitch your services.

And, if you’re new to this, it’s best to offer to mix 1-2 songs for free. Then you’ll have more portfolio items to show other clients.

I highly recommend SoundBetter. I get most of my clients through this platform.

Start a Subscriber Community

A subscriber community allows your superfans to support you financially while getting exclusive goodies in return. By sharing exclusive stuff, early access, and just being yourself, you can run a successful subscriber community.

Some of the top platforms that let you do this are Patreon, Bandzoogle, and Bandcamp.

Launch and Grow a YouTube Channel

This one is tough. I’ve not done it, but I’m a big consumer of YouTube and I’ve seen plenty of musicians do it.

The trick is figuring out how to grow. To do so, you first need to have irresistible content. You’ll also need to post frequently, be a part of the community, and know how to add effective tags to your video.

Then, as you grow your audience, you can earn money from sponsors and YouTube’s ad revenue program.

YouTube actually put together a free course on how to succeed on YouTube. Looks like it covers everything you need to know.

Personalize Your Music Career

The way you make money from music is up to you. I’m just letting you know there are plenty of options. You have to find your own path and keep going.

I suggest focusing on 2-3 of these income streams.

But why three income streams?

Well, Thomas C. Corley, author of Change Your Habits, Change Your Life, spent five year studying millionaires.

And he found that three income streams “seemed to be the magic number.”

He found that 65% of the millionaires he studied had at least three income streams “prior to

making their first million dollars.”

He added that “the more income streams you can create in life, the more secure your financial house will be and the more wealth you will create.”

And these millionaires “built their businesses while employed full time. If they can do it, so can you.”

I know, you may not be shooting to become a millionaire musician. But if you want a full-time career in music, it’s best to listen to people who are financially successful.

The whole point of this post is to show you that, yes, you can make a living as a musician. It takes great music, a lot of hard and smart work, and a solid music community. But you can do it. This post also shows you the specific ways six indie musicians are making money today (and how you can too).

Vo Williams – sync licensing

Vo Williams’ first sync placement was in a Big Game trailer around 2014. Since then, he’s landed over 1,000 placements.

And he said a trailer placement can pay the artist $20,000 on the publishing side and $20,000 on the master side ‒ and that’s on the low end!

He got started in this niche working with a music library (which is different from a sync licensing company). And now he works directly with music supervisors and others in the film industry.

Lucidious – streaming royalties + touring

Lucidious has garnered 200 million streams on Spotify. And as of this writing, he has over 300,000 monthly listeners on Spotify.

He makes around $20,000 a month from streaming alone. How is this possible? Even though DSPs pay fractions of a penny per stream, most of his fans listen to several of his songs every month.

But streaming isn’t the only way he makes money ‒ he also tours and sells merch. But his career is thanks in large part to his success on Spotify.

Learn how to promote your next song (and your old ones too).

Carey Rayburn – special events

There are about 1,400 Performing Arts Centers (PACs) located in most major cities in the United States. And each one books about 50 performances each year.

Trumpeter Carey Rayburn is one of the premier acts in the PAC market. He and his band, Good Co, have earned major agency representation, and they’ve appeared at most of the major Special Event conferences, playing over 500 shows in the Special Events market.

And they make over $200,000 a year performing in the PAC market, according to Ari’s Take.

Even though Rayburn trained under some renowned trumpeters and got a degree in Orchestral Trumpet Performance, that doesn’t mean you need to go that route too.

A PAC will pay between $1,000 to $15,000 (or more) for unknown performers. And then they’ll pay tens of thousands for the known, more experienced performers.

The types of performers that do well in Special Events include cover bands, tribute acts, world music, reggae, R&B, lounge singers, soul, blues, funk, a cappella, comedy, and niche acts.

Learn how to book high-paying private events.

Dave Ruch – educational performances

Dave Ruch is a full-time musician, mainly performing for families and at schools. He started out playing 4-hour performances in clubs but ended up getting tendinitis.

That brought him to the world of educational performance.

He says you can make “$1,000-2,500 a day doing educational performances in schools, museums, libraries, and arts centers.”

He told me via email he charges $500 for a ~45-minute educational performance locally, and he’ll charge more if he has to travel. And he will sometimes do 2-3 of these shows a day.

He’s also been offering online educational performances, charging $149 per school.

So if you’re an entertaining performer, good with kids, and love to educate people, this niche could be perfect for you.

Joy Ike – live performance + live streaming + sync licensing

Joy Ike is a singer/songwriter/artist who left her publicist career in 2008 to become a full-time musician. She confirmed by email she has been a full-timer ever since.

Her biggest source of revenue is performing (in-person and live streaming), which includes merchandise sold at her shows.

Her second biggest income stream is licensing music through Musicbed.

Here’s her income breakdown in percentages for 2021:

• 51% – live performance + live streaming (includes merch sold at shows)
• 26% – licensing music via Musicbed
• 12% – streaming and downloads
• 7% – online merch sales (on her website and Bandcamp)
• 4% – musician coaching and workshops

Clare Means – live streaming + street performing

Clare Means makes her living from live streaming and busking (street performing).

She started out playing on the streets of Los Angeles five days a week. She began live streaming her street performances with her smartphone, soon streaming from her home. And over the past five years, she’s spent an average of 20 hours a week live streaming.

And she’s unique in that she mainly plays original songs. In fact, she’s had so much success that Ari’s Take partnered with her to make a step-by-step guide on how to livestream on Facebook, Twitch, YouTube, and Instagram. And some of the students are making several hundred dollars a week just from live streaming.

Clare has also set up tip jars on PayPal and Venmo, and she has a small group of supporters on Patreon.

Basically, music is her full-time gig. And she’s now considered one of the top experts in the niche of busking and live streaming.

How To Make a Living in Music

As you can see from this list, most of these musicians have multiple streams of revenue, usually 2-3. This is smart because if one stream dries up, you have others to rely on.

However, a few of these artists just got really great at one thing. They’ve gotten so successful at that one thing, they most likely have enough reserves to fall back on if things go south for them.

The point is, you can make a living as a musician in many different ways. These indie artists are proof of that.

Photo credit: Fausto Sandoval

As an indie artist, I’m always looking for the best way to engage with my fans. And I’m sure you feel the same way. A few years ago, SMS marketing for musicians became the new hot thing. But is it still relevant? Is it still effective? Short answer: yes and yes. But only if you do it thoughtfully and intentionally. Here’s how you can get started…

What Is SMS Marketing?

SMS marketing is just text message marketing. (In case you’re curious, SMS stands for “Short Message Service”). So people give you their phone number and allow you to text them about your music.

Why Use SMS Marketing?

We’ve seen social media platforms change drastically since they launched. For example, we went from chronological feeds to curated algorithms. The companies behind these platforms change how their apps work all the time.

And that’s the thing: these apps belong to the companies, not to you and me. We don’t have direct access to our fans through these platforms.

This is why SMS marketing can be really good for indie musicians. If and when social media apps change how things work – or worse, if they go away completely – you will still be able to contact your fans directly.

It’s the same idea behind email marketing, just with people’s phone numbers.

How To Grow Your SMS List

So how do you get people to give you their number? Here are some methods you can try:

• Collect numbers at your live performances
• Offer people an unreleased song in exchange for their number and use a keyword they can text in (all the best SMS platforms let you do this)
• Do a giveaway of your merch
• Just ask – post on social media something like “Hey you should text me: [YOUR PHONE NUMBER]”

How To Use SMS Marketing the Right (and Legal) Way

Using SMS marketing effectively as an indie musician means you have to be thoughtful and strategic. So here are some ways to approach text message marketing so you’re staying legal and also not annoying people.

Stay legal

This is obvious, but you have to get permission. Don’t buy phone number lists. Don’t just text random numbers. People hate that, and they will hate you. It’s also a legal thing.

You also have to stay in compliance, but any reputable SMS marketing platform will ensure you do this (or at least provide resources for your education).

Lastly, make sure it’s clear how people can opt-out. Respecting a person’s choice to opt-out helps them respect you, even if they don’t want to get your texts.

Use it for (mostly) essential messaging

You can’t text your fans too often or you will annoy them. So here are some essential reasons why you may send out an SMS campaign:

• Tour or show announcements
• New music
• Unreleased music
• New merch
• Sales on merch

If you think of some interesting conversation starters that fit within your brand, feel free to send out an SMS campaign. Just make sure you respond to every text. People expect a reply, and you don’t want to leave your fans on read.

Segment and personalize

On your SMS marketing platform, assign your subscribers to different lists and use tags. This will make it easier to contact your fans based on location, purchase history (concert tickets/merch), and how they opted into your list (like via a keyword or giveaway).

And whenever you send a campaign, use the “first name” tag so it will autofill the person’s name. If you have the names of some subscribers but not others, you can make the no-name subscribers’ first names “there.” That way, your message would be something like “Hey there…”, while still including the name of the subscribers who have given you their name.

Ultimately, you’re trying to build a lifelong connection with your fans through SMS marketing. Think long-term. Don’t annoy your fans. Always respond to their texts. Message them the way you would be okay with if you were in their position. 

Tell me if this has happened to you…

You find a musician on social media. You like the song you hear, so you look it up on Spotify. Once you land on their Spotify page, the first thing you instinctively look at is the Monthly Listeners stat. It’s right at the top so it’s hard to miss.

And at that point, you make an instant judgment of them as an artist and the quality of their music. I’m sorry to all my fellow indie artists, but I definitely do this as a listener.

It’s either “Why doesn’t this artist have more listeners?!” or “How the heck does this person have so many listeners?!”

And as an artist, I check my Spotify for Artists every single day. It’s kind of embarrassing. I want to be the artist who just puts music out and doesn’t even pay attention to the numbers. But in today’s world, being an independent musician is like running a business. So you have to know the numbers.

The thing is, while tracking stats is important to see what’s working and what’s not, it’s very easy for it to become an obsession.

So all this to say, check yourself. Make sure your stat-checking is not becoming an obsession.

There’s a much deeper meaning to being a musician than stats. Let’s talk about it.

How Do I Find My Purpose as an Artist?

Purpose is what keeps you going and gives you meaning as a musician. But how do you find your purpose as an artist? Here are some things that have helped me…

Match your career goals to your personality

Everyone’s music career will look different, so you have to figure out what you want yours to look like. And to do that, there are two big questions you can ask yourself.

What are you doing when you lose track of time?

When you’re doing music and you lose track of time, that means you’re doing what you love. You’re in the zone. This is also called “flow state.”

For me, my flow happens when I’m writing and recording songs. I might be in my studio for what seems like 20 minutes, but it turns out to be two hours.

What are you doing when you get into the flow? That will tell you what kind of musician you want to be.

What do you really want to do all day?

Imagine something with me.

Imagine one of your super fans comes to you and says, “I want to pay you an annual salary. But you have to do something every day to move your music career forward. Treat music as your new day job — your new career.”

If that happened, what would you do all day? If money were no concern and you could do music 7-8 hours a day, what would you fill the time with?

Your answer will tell you what you want to be.

Build a plan based on your ideal career

Once you figure out what you want your music career to look like, you need to set goals to get you there. This way, you’re only competing against yourself, not other artists. You’re only tracking your progress and focusing on your success.

To build a full music career plan, check out this guide.

Focus on the process, not the destination

Remember why you got into music. Remember the high you got from playing your first chord progression, writing your first song, or playing your first show. Intentionally remind yourself of the joy music brings you.

This will keep you focused on the process of creating instead of your stats or even your income.

Success is the release

You have to define your own success. And I can confidently say that releasing a song is a success. To write, record, mix, master, and release a song is a big deal. You should be proud. When you put a song out into the world, you are successful, even in that small way.

Share and connect

When one of your songs connects with a fan on a deep level, there’s no feeling like it. Something you made has altered someone else’s life (hopefully in a positive way). And there’s no better feeling as a musician.

So put your music out there. Talk to and connect with the people who like your music. The human-to-human connection is the reason why I keep releasing music.

I’m sure you’ve heard music marketers talk about email marketing. “You have to ‘own’ your fans,” they say. “Social media algorithms come and go!” And I’ll be honest, the idea of bypassing the whim of algorithms sounds appealing. But is email marketing still worth it? Let’s crowdsource the answer…

Email vs. Instagram vs. Discord, Etc.

Someone on Reddit asked how musicians prefer to stay in touch with their fans. Social media? Email? Discord? Something else?

Here’s what musicians in the comments said…

Opinions AGAINST Email

Let’s start with musicians who are against email marketing, or at least put something else before it.

“1) Discord, 2) Email list, 3) Instagram”

Discord is a great place to have a communal conversation surrounding your music. It’s a way for your fans to interact with each other and with you. The interface is a little clunky, but many artists use it as a way to create a sense of community around your music and brand.

“I’m sorry but no one’s going on their email for new music”

This is true. But the thing is, that’s not the point of email marketing. The point of an email list as a musician is to connect directly with people who already know about you and love your music. It’s not a discovery platform, it’s a relationship builder.

“I have not read an email in 8 years…”

This is a crazy take. If you haven’t read an email in 8 years, you need to get your life together. You kind of need an email address to be able to do anything in today’s world.

Opinions FOR Email Marketing

Now for the comments in favor of email marketing for musicians. These were also some of the most upvoted comments on the Reddit thread.

“Email is still king”

Email is definitely more direct than social media, so in that regard, it is “king.” The average open rate (what percentage of people open your emails) in the music industry is just over 21%. It’s not amazing, but it’s still pretty good compared to the other industries!

“Email is the one that has stood the test of time”

This is true. Email came around in 1971. It’s now over 50 years old and still a very important part of our digital lives. I personally check my email multiple times a day, and I don’t think I’m alone in that.

“Discord and Instagram are not in your control”

We’ve seen social media companies change their algorithms. We went from chronological feeds to curated feeds, for example. And these platforms could change things again whenever they want. But email is pretty much the same as it was 10-20 years ago. It gives you direct access to your fans.

“If the long term is important, own your contact list”

“Owning” your fans just means having direct contact info for them. On Discord and social media platforms, you don’t get access to members’ email addresses. So if these platforms go away, you have no way to contact those fans after the fact.

How To Build Your Email List

Email is still important for keeping up with your super fans, so it would be smart to invest some time into building a list. Here are a few ways you can do that…

RSVPs to your concert

I like to play house concerts. And because I don’t want to share the host’s address publicly, I ask people to RSVP, then I send the address only to the RSVPers. This is also a way to collect email addresses. Everyone who RSVP’d is now on my email list and will likely be interested to hear what’s happening with my music career.

Sign-ups at your shows

If you don’t do RSVPs beforehand, like if you’re playing a traditional venue, you can collect email addresses at your show. For a walkthrough of how to do this, check out this article (yes, it’s nearly 10 years old, but it’s still good advice)

Offer unreleased music

If you’ve released a song that you know people like, it could be a good move to give the demo of that song to people who give you their email addresses. Or you could give them a song you recorded but didn’t make your album, or you could give them a song a month early. You can do all of this through the email automation of your email provider.

Pre-saves

I personally don’t run pre-save campaigns nor do I pre-save other artists’ songs – I don’t want to add a song to my library if I haven’t heard it. But you may have the itch to try a pre-save campaign. If so, you will get the email addresses of every person who pre-saves your song.

Final word: email marketing is not dead (yet). It is still a viable way to converse with your fans directly without algorithms or other platforms getting in the way. That may not be the case in a decade or even three years. But we don’t have evidence right now to believe that email marketing will become obsolete any time soon.

Photo credit: HIVAN ARVIZU @soyhivan

Music marketing intimidates many indie musicians. We don’t want to feel sales-y, spammy, or like we’re yelling at people. Fortunately, there’s a way to share your music authentically while being considerate of others.

How To Market Your Music a Different Way

Derek Sivers, founder of CD Baby and multi-book author, presents a very interesting way of approaching music marketing. In his book Your Music And People, he offers very thoughtful, considerate, and authentic ways indie musicians can share their music with people.

It’s specific enough that it has concrete steps you can take but general enough that it’s timeless advice. Here’s what I got from the book…

Get Creative

Marketing your music is simply sharing something you made that you’re excited about. It’s an extension of your art. So if you’re really proud of your music, you’ll put time into being creative with your marketing. Spend as much time cooking up ways to share your songs as you did creating them.

Be Considerate

Being considerate in your marketing means you think about what people actually want. You don’t spam them or “yell” at them. Ask yourself why someone should care about you and your music.

“Marketing,” writes Sivers, “means making it easy for people to notice you, relate to you, remember you, and tell their friends about you.”

Think of People

The phrase “it’s all about who you know” is actually true. Could you do everything yourself and then blow up on social media? Yes, but the chances of that are slim.

What’s more likely is that you build relationships with people who then help you succeed. Just be a good person. Think about how you can help others. It’s the right thing to do, and karma may actually be real.

Dive Into the Industry

We say “the music industry,” but the industry is just made up of people. So go meet those people. Get to know them. And don’t beg people for a leg up – show them you can succeed before asking for help.

Be Resourceful

Work with what you have. Keep your overhead low. Assume nobody will help you (even if they might). You are running a small business as an indie musician. So make a plan that will lead to a profitable career and keep going after it.

Describe and Define Yourself

If you’re going to be meeting people in the music industry, you need a way to quickly describe your music. A one-sentence or even 2-3-word description is best.

It should tell people what to expect (I tell people I make “nostalgic folk”). Or you can make people curious so they just have to listen (Sivers’ example: “a cross between James Brown and The Beatles”).

And try to avoid genres or what instruments you play, unless you play a super unique instrument like the Theremin. Use visceral words that describe the vibe and feeling of your songs.

Who To Target

Many people won’t like your music. Music is subjective. So you need to focus on finding the right listeners, not finding the most listeners. Aim for the edges. Find your people.

“Have the confidence to find your niche, define who you are,” writes Sivers. “Then declare it again and again and again and again.”

Keep a Database

Create a spreadsheet. Then store information on every single person in the music industry you meet. Sivers recommends tracking:

• Name
• Contact info
• Location
• Tags so you can find the right people (songwriter, publisher, manager, etc.)
• Notes on your last communication
• When you should contact them next

This will help you stay in touch with people instead of letting their emails fade into the ether of your inbox.

Making Money and Promoting

If your friends aren’t telling people about your music, then don’t promote it, Sivers says. If this is the case, you need to go back and keep improving your art until people can’t not share it.

He also recommends waiting to share your music until it’s out, which I wholeheartedly agree with. Do you know how many times I’ve seen an indie artist online saying, “My song comes out in two weeks” only for me to move on and forget about it? I’ve missed out on so much good music! And as a listener, pre-saving is annoying to me. Just put the song out and then promote it.

Adjust Your Mindset

Sivers points out that moving to a city with a vibrant music scene will help you. You’ll be able to meet musicians, network with industry people, and easily support local music. Remember, it’s about who you know. And it’s also about being available and ready for opportunities. Doors will open that you didn’t expect to, so keep your career goals broad enough so you have room for them.

Ultimately, Sivers says, follow your interests.

“Whatever excites you, go do it,” he says. “Whatever drains you, stop doing it.”

– – –

*This is not a sponsored post. Derek Sivers did not ask me to write this. I just really enjoyed the book and wanted to share the big ideas it covers.

Photo credit: Tim Toomey

A recording can have many problems. Bad timing. Thinness. Blandness. So I want to share five methods that will improve your recordings. These are things I do as an indie songwriter and artist who records all my stuff from home and also produces and mixes music for other artists.

Simple Beat + Click Track

A click track can be difficult to hear when you’re recording. So to help yourself stay in time, layer the click with a simple beat.

Create a new MIDI drum track. If the song is in 4/4, put the hi-hat on all four beats, put the kick on 1 and the snare on 3. For a song in 6/8, put the kick on 1 and the snare on 4 (or whatever emphasis with which you’re playing the song).

It doesn’t matter what drum sound you have, it’s not going to be in the final recording. This is just to play in your headphones as you record your parts to help you stay in time.

Layering

If you want fuller, warmer productions, layer stuff. Layer everything. Then when you realize you’ve layered too much, pull it back a little. But literally, you can layer anything.

I like to record three or four takes of acoustic guitar (all playing the same part) and pan them left and right to varying degrees. It feels like the guitar is giving you a hug.

You can layer an 808 beat underneath your drums. Layer your lead vocal, background vocals, and harmonies. Instead of just one cello, layer it 2-3 times.

Try it. You’ll see what I mean.

Using a Reference Track

You make music you like, right? And you’re influenced by others’ music, yeah? So why not go directly to the source?

Before you record your next song, find another artist’s song that you love. Then listen intently and find things about the production you want to incorporate into your track.

Is it the guitar sound? The groove of the drums? The softness of the piano? How the synth pierces through the mix?

Try to get that sound, vibe, feeling, what have you into your song. This is how you use a reference track during the production stage.

Involving Others

Look at your all-time favorite songs. I bet they were written by more than one person. If not, I can still say with confidence, the creation of that production involved more than one person. The engineer, producer, session musicians, mixing engineer, mastering engineer. One or more of these roles were probably filled by someone other than the artist.

Could you learn how to perform all of these roles, from songwriter to mastering engineer?

Yes, you could. But the downside of doing literally everything on your own is you miss what others might bring. You create in a bubble and run the risk of your song not reaching its full potential.

Invite others whom you trust into your creative process. It may just heighten the end result and it will be a lot more fun.

Experiment, experiment, experiment

The key to being a good music producer is to try every idea you have. You won’t know what something sounds like until you hear it in the song.

So just record that crazy, stupid, “out there” idea. It may just work. It might not, it might sound like garbage. Or maybe it doesn’t work, but it gives you another idea you wouldn’t have gotten without that first bad idea.

Experiment. Try it. You won’t regret the attempt.

Photo credit: Mike Tinnion

I started doing something called Morning Pages a few weeks ago. They’re supposed to help you unlock your creativity and improve your life overall. Big claims. So let’s talk about what this practice is and how it’s meant to help you be more creative.

What Are Morning Pages?

There’s a book called The Artist’s Way and it’s supposed to help you unlock and heighten your creativity. It’s laid out like a course and has assigned reading and tasks to do, all with the goal of helping you get in touch with yourself and get creating.

One of the things the book says you have to do is Morning Pages, an “apparently pointless process,” say the authors, Julia Cameron and Mark Bryan.

They say this because people have shot down the idea…until those same people try this practice and flip to being Morning Pages advocates.

“Put simply, the morning pages are three pages of longhand writing, strictly stream of consciousness,” they said.

It’s basically like dumping your subconscious onto the page. And there is no wrong way to do Morning Pages. They’re not meant to be art, or even good at all. It’s a no-stress practice.

And they’re not meant to be revisited later or saved like a journal. Rip them out and hide them away if you want. I plan to burn my notebook after it’s filled up.

No one else is allowed to see these pages. Ever. You need to free yourself of any sense of perfection when doing your Morning Pages.

And they are non-negotiable. If you don’t feel like writing, then write about how you don’t feel like writing. Write down your negative thoughts, your nonsensical meanderings, and opinions you don’t share with anyone. These pages are for you and you alone. Dump it all on the pages and leave it behind you.

The Benefits of Morning Pages

Morning Pages are meant to help you get out of your own way, that part of you that edits yourself. The book calls this the Censor.

The more you hear the voice of your Censor, the better you get at ignoring it and paying attention to the real you. If you let the Censor win, you will stay creatively blocked. Morning Pages help you beat the Censor.

“Who wouldn’t be blocked if every time you tiptoed into the open, somebody (your Censor) made fun of you?,” they write.

According to The Artist’s Way, here are the benefits of consistently doing Morning Pages:

• Get to the other side of your fear, negativity, and bad mood
• Overcome your Censor
• Find your center, and therefore your creativity
• Get to know yourself better
• Remember your dreams more often and with more vividness
• Improve your problem solving skills
• Clear your mind

I’ve been doing Morning Pages for about four weeks now. To be honest, I haven’t been as consistent as I’d like to be. I’m not sure I’ve even done them seven days in a row yet, but most days I do them.

Even still, I’ve noticed I’m hearing more of my own voice in my head instead of ignoring it. I’ve been remembering my dreams. I’m more confident with my choices and knowing what I want. And part of being creative is knowing yourself.

How To Keep Writing Your Morning Pages

According to The Artist’s Way, the full benefits of Morning Pages only happen when you stay consistent and write your three pages every day. And this will require you make Morning Pages a habit. It means it has to become part of your routine.

The problem is, many of us wait around for motivation to hit us. Once that arrives, we say, then we’ll start a new habit. But that’s totally off. What you need is discipline. Discipline is how you form habits. And habits can actually get you somewhere.

Author James Clear has a 5-step process for forming new habits…

1. Start with a small task/habit

Three pages of brain-dump writing is actually not that much. Especially because these pages are not meant to be good. No one else will see them. They could be gibberish. Just keep your hand moving and it won’t take that long or be that difficult.

2. Gradually improve that habit

When you first start Morning Pages, it may be hard to do them every day. So improving this habit means doing your best to do them every single day. Set an alarm. Give yourself a reward when you’re down. Offer yourself extra incentive than just the inherent benefits of Morning Pages.

3. As you improve your habit, chunk it into pieces

The book takes you through the artist’s way process week by week, so it may be helpful to do Morning Pages week by week. Keep track of how many days each week you did your Pages. It will give you a small, clear goal to reach.

4. When you miss a day, quickly get back on track

When you miss a day of writing, don’t beat yourself up over it. Shame cycling is real. Just make sure you do Morning Pages the next day.

5. Be patient

Again, I’ve been doing Morning Pages for four weeks and it’s still hard for me to do them every day. Be patient with yourself. Don’t get lazy, but also don’t talk negatively to yourself for missing a morning.

Your ROI for Spotify playlists will probably be $0, at least for a while when you first start out. But that’s okay.

The point of playlists is not to make money or get more streams. Yes, the ultimate goal is to make a living from music, and playlists can bring in more streaming revenue. But it’s deeper than that. So we’re going to talk about the real reason you want to get on Spotify playlists.

The Three Types of Spotify Playlists

Before we talk about how Spotify playlists can help your music career, let’s first cover the types of playlists.

Spotify Editorial Playlists

An editorial playlist is curated by Spotify employees. And they have thousands of these playlists, all specific to a genre, vibe, or even situation.

These playlists usually have hundreds of thousands of followers, so it’s a chance to get some great exposure. Will it ensure you have a stable music career? Likely not, but it can definitely help.

You pitch to editorials through your Spotify for Artists account. The key is to submit it well before your release date. Learn everything you need to know about pitching to editorial playlists here.

Algorithmic Playlists (AKA Personalized Playlists)

Algorithmic playlists are personalized to each listener based on what they listen to, when they listen, what songs they add to their own playlists, and even the listening habits of others with similar taste.

Sometimes, Spotify editors will start the process by choosing the initial songs the algorithm should choose from.

There are many variations of personalized playlists, but some of the more popular ones include:

• Discover Weekly
• Release Radar
• On Repeat
• Repeat Rewind

Listener Playlists

These are playlists created by listeners. And what’s cool is, you can see what playlists people are putting your songs on, as long as multiple listeners stream your music from the playlist.

Just go to your Spotify for Artists, to the Music tab, and go to Playlists. Alternatively, you can click on an individual song and see what playlists it’s been put on.

These are very important playlist adds because that means someone was so into your song, they added it to their curated collection.

As a listener, I take my playlists seriously. They’re organized by vibe, so I have to really like an artist’s song and it has to perfectly fit a playlist before I add it.

What Spotify Playlists Actually Do For Your Career

The expectation of Spotify playlists should not be to rack up streams and make a bunch of money (although that is possible). They can help, but playlists play a deeper and more important role than that. Here’s what they actually do…

Trigger the Spotify Algorithm

Basically, the more playlists you’re on, the more appealing you are to the Spotify algorithmic playlists.

This is why I continue to submit my music to playlist curators. Yes, I spend money submitting to most of these curators (pay to submit, not pay for guaranteed adds), and I probably won’t get that money back any time soon. But it’s all part of the bigger effort to move the needle. I’m investing in myself, my music career, believing that it will pay off eventually.

I’m triggering the Spotify algorithm to show my music to even more people (the main picture at the top of this post shows the source of my streams on Spotify). And I want it to snowball until the algorithm pushes out every new release.

Turn Passive Listeners Into Lifelong Fans

I’ve heard the argument that playlists are pointless because people are listening passively. And yeah, that’s true. People are listening passively.

Which is why your music needs to be great – the songwriting, production, mix, every part of it. Because if your song is good enough, it will snap the listener out of passivity. They’ll like your song, add it to their playlist, and maybe visit your profile to check out your whole catalog.

So getting on playlists is one way to find lifelong fan. And that’s what this is all about. Finding the people who love your music so much they’ll stick with you for the long-haul.

And if you find just one person who becomes a diehard fan from a playlist, the money you spent submitting to that playlist won’t compare to how much that fan is willing to pay you for merch and show tickets or becoming your patron. Not to mention the value of them sharing your music with others.

How To Submit Your Music To Spotify Playlists

If you’re ready to invest time and a little money into getting your music on Spotify playlists, you should read this post. It shows you how the Spotify algorithm works, methods for finding the right playlists, and a few other considerations.

Photo credit: Solen Feyissa

In yet another attempt to promote my music, I recently promoted four of my TikTok videos. In other words, I paid for my TikToks to get shown to more people. It’s a feature called TikTok Promote, and I’m going to share my experience so you can see if it’s worth it for you.

What Is TikTok Promote?

TikTok Promote is a tool that pushes your video out to more people as a sponsored video. You can choose the goal of the promotion and get more people to discover your video, drive people to your website, and improve your chances to get followers.

When you promote a TikTok, you can track these stats:

• Video views
• Likes, comments, and shares
• Website visits
• Age and gender of people interacting with the TikTok

In order to use TikTok Promote, you have to use an original sound or one that can be used commercially. So when promoting a video featuring your music, you may have to edit your video outside of TikTok so your song is baked into the video before you post, as opposed to adding your song as a sound within TikTok.

Also, you still have to put effort into making a compelling video. Promote is not meant to make up for lackluster content. It’s simply a tool that shows your video to more people. So if your video sucks, people still won’t engage with it.

My TikTok Promote Results

For context, I’ve been getting between 200-300 views on any given TikTok with maybe one or two nice commenters. My best video organically got over 4,000 views.

I know, I’m not great at making content, but I’m trying. Although if your stats look similar to mine, then read on.

I decided to promote four TikToks that I thought were cool in comparison to my other TikToks, or the song in the video was one of my stronger songs. And before promoting these videos, they all had roughly my average stats.

As for the goal of the promotions, I chose “More video views.” But you could instead choose:

• More website visits (you can add a link to your Spotify)
• More followers
• More messages
• More profile views

So here are my results…

Video 1

Total spent: $12.95

By promoting this video, it got over 4k views and 722 likes. But before this, it had organically gotten five saves and a two positive comments.

Video 2

Total spent: $13.12

By promoting this video, it got over 3,400 views, 771 likes, and three positive comments. Before this, it had also gotten three organic saves.

Video 3

Total spent: $13.27

By promoting this video, it got over 2,900 views and 678 likes. Before this, it had organically gotten three positive comments and two saves.

Video 4

Total spent: $6.63

By promoting this video, it got 1,750 views, 190 likes, 1 positive comment, and 29 shares. Before this, it had organically gotten five positive comments and 10 saves.

Final Thoughts: Was It Worth It?

As you can see, I didn’t spend much money on TikTok Promote. In total, I spent $45.97.

I also only chose to get more views, not to get more website visits.

Ultimately, the goal of promoting these TikToks was to get more people to know that I exist and that I make music.

Did people immediately hop over to Spotify to stream my music? Well, there was no significant change in my streaming numbers during or around these promotions.

But I did get a handful of TikTok followers from these promoted videos. I can tell because users would like the promoted video and then follow me right after. So I achieved my goal of expanding my presence.

*UPDATE: Initially, I was going to try TikTok Promote again. But after posting this article, I listened to this episode of The New Music Business Podcast where music marketing expert Dustin Boyer says TikTok Promote seems to lead to shadow banning afterward. It’s almost like TikTok sees you’re willing to pay money, so they stifle your views. So I can’t in good conscience recommend you do TikTok Promote as an indie musician. If you have a big budget and you’re willing and able to do TikTok Promote on a regular basis, knock yourself out. But I wouldn’t advise it. Just focus on creating compelling content that reaches people organically.

Photo credit: Aziz Acharki

There are two general camps in the musician world. There’s the “I just want to make music I like” group and then there’s the “I want to make music my living” group. But what if both of those groups of people are right? What if we could find a way to make music we like but also turn it into money? I think we can. You can live the creative life while also building a music career.

What Is the Creative Life?

 

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One of the best descriptions of living the creative life comes from top-tier music producer Rick Rubin. In his book, The Creative Act, he says we’re all creators.

“What you make doesn’t have to be witnessed, recorded, sold, or encased in glass for it to be a work of art,” he writes. “Through the ordinary state of being, we’re already creators in the most profound way, creating our experience of reality and composing the world we perceive.”

A creative life involves living to create, not creating to live. You can do both, but it’s all about making the nucleus the art, or the process of making the art. Not what you could get from the art.

It’s a habit. It’s a way of being and existing.

People who are more creative are driven by “intrinsic motivation – a love of creating for the sake of creating, and not for external rewards,” according to Scientific American.

If you have this internal drive to create, you’ll need to know a few hard truths. You may have already experienced them. There are three big truths I’ve come across that are not fun.

1. You must do

As much as I wish songs would just fall into my lap, that doesn’t happen unless I’m first doing something to invite the song in. I have to set aside time to write. In order to live a creative life, you have to actually live it. You must create if you want to be a creator.

2. You will be frustrated

I started writing songs in 2005. And I’m still just as frustrated as I was back then. It’s because your taste outpaces the stuff you’re creating today. And that’s good because it drives you to get better.

3. Perfect doesn’t exist

Because your taste always stays ahead of your creations, you will probably never make something you think is “perfect.” In fact, “perfect” is totally subjective. So it’s best to accept that perfect doesn’t exist. Just do your best.

What Does Building a Music Career Look Like?

Building a music career is an entirely different animal than simply living the creative life. It’s marked by three main areas…

Making money

Having a music career, obviously, requires that you make money from the music you make. Some people don’t like the idea of monetizing their creations, and that’s fine for them. But if you want to build a music career, there’s no way around it.

Setting external goals

While living the creative involves having an internal drive, building a music career involves using external goals to move you forward. In the same way a company sets goals to grow their business, an indie musician needs to see how they can increase their reach.

Marketing

Listen, I wish indie artists didn’t have to be marketing people, but succeeding today involves great music, hard work, and good marketing. Without marketing, no one will find the music you worked so hard to create. So you’ll need to learn the basics and put them into practice.

How To Live the Creative Life and Have a Music Career

You can definitely live a creative life while also building a music career. You’ll need to compartmentalize, but you can do it. Tons of artists are doing it.

Here’s how I try to do it: I separate my “creative self” and my “business self.” First, I try my best to live the creative life – I create for the joy of creating, even if no one hears what I make. I try to enjoy the process and find reward in finishing a song.

Then, once I have a song that I think people could resonate with, I decide to release it, do marketing the best I know how, and track my numbers. Then I compare my measurable success (streaming stats, number of positive comments/messages, money made) to previous songs I’ve released to see if my marketing is working or if it could be improved upon.

I just make sure that my business self doesn’t come to the table when I’m trying to create. And I keep my creative self from getting obsessed with the marketing and stats side of my career.

It’s a balancing act, but you can do it. It just takes practice.

OK Go’s music video for their song “Here It Goes Again”

Many indie musicians don’t have a ton of money. But every indie musician who’s serious about building a career will do whatever it takes to promote their music. And one method that can still be very effective is making a music video. So let’s talk about how to make a good music video when you’re on a budget.

Determine the Purpose

Before you make a music video, you have to ask yourself why. What do you want your music video to accomplish?

If you want to scratch a creative itch – you want to make visual art connected to your song – then you may lean toward the storytelling aspect that videos allow.

And if you simply want people to become more aware of your song and stream it, then you can make a music video that can be easily chopped into short-form content.

Figure this out before you take the next steps.

Find References

In the same way you can use reference tracks when producing or songwriting, you can use reference music videos to give you inspiration. Creating art involves stealing from other artists, so pull ideas from other music videos and make them your own.

For example, you could look at the below video from the artist Ren and learn:

• A passionate performance is the most important thing
• The setting fits the vibe of the music
• The choice of attire is important, it needs to fit the vibe
• The lighting changes with the song

Write It, Plan It

The epitome of planning a music video is the band OK Go. Watch any of their music videos and you can guess how much planning was involved. Then watch or read about the behind the scenes and you’ll realize it was more involved than you guessed.

Obviously you don’t have to make an OK Go-level music video, but the point is to script and plan out the shoot. Even run through the process before you start shooting so you have it down. It will save you a lot of time when you do shoot.

The first of their videos to blow up was for their song “Here It Goes Again.” And although that only involved a few treadmills, the planning for the performance probably took ages.

Pick a Location

When picking a location for your music video, think about the vibe of the place compared to the vibe of your track.

For example, if your song is upbeat pop, you could shoot in the city at night. If you have an emotional tender track, you could shoot in a field at sunset. You get the idea.

Tap your network of friends and acquaintances for locations. People are often happy to let you use their property for free if they like you.

Decide On Your Equipment and Software

These days, you can use your smartphone as the camera. Entire movies have been shot on a smartphone, so you can shoot an indie music video on a phone. Consider getting a phone tripod and/or holder to make it easier for your cinematographer.

As for software, there are plenty of free video editing programs that will get the job done. If you have an Apple computer, iMovie comes preloaded. Otherwise, you can try Lightworks or OpenShot.

Get a Cinematographer

By cinematographer, I’m not saying you have to hire a professional camera person. Ask one of your reliable friends to do it. You’ll just need to direct them on how to frame you as you’re performing (whether lip syncing or performing live).

Shoot It

Set aside more time than you think you’ll need to shoot the music video. Things will probably not go as planned, especially because you’re not a professional videographer. Technology doesn’t always cooperate, weather doesn’t cooperate, people might be late.

It might be a good idea to block off an entire Saturday or Sunday to shoot the video. And if you end up having extra time, you can start on the editing.

I’ve played a couple hundred shows in my career, the most recent being two house concerts earlier this year. I know, so many artists play that many shows in a single year, but I’m just letting you know I do have experience getting fans to shows. So let’s talk about how to sell concert tickets when you’re an indie musician doing everything yourself.

Choose Your Platform

First, you have to figure out what ticket-selling and/or RSVP platform you’ll use. For the two house concerts I played this year, I used Eventbrite, but here are some other reliable options:

• Bandsintown
• Ticketmaster
• Your website builder (like Bandzoogle)

Decide On the Ticket Price

The house concerts I’ve done were by suggested donation. And what I noticed was, yes some of the people didn’t donate anything. But the people who did donate elected to give $10-50, so it all equaled out in my perspective.

However, if you’re going to set a ticket price, you have to factor in a few things, like…

• How many tickets you think you can sell
• What other artists with a similar following and genre are charging
• Fees from the ticket-selling platform you choose
• How involved the concert will be (sound system setup/teardown, length of the set, how much you spent on ads, etc.)

Play a Joint Show

For each of the two house concerts I did this year, I asked another artist to play with me. For one of the shows I had an opener and the other one was a 50/50 joint show. And because I had another artist there (and because of the host telling his friends), the turnout was twice as big as it would’ve been if it were just me.

Create Visuals

You need something to share on social media that is both eye-catching and easy for people to quickly understand. They’re scrolling social media, so your visual has to give them the information immediately and clearly. I used Canva to create a digital poster for my concerts.

Share Performance Videos

In the promotion of your concert, share some live performance videos. This gives people an idea of what to expect if they were to attend. Ask a friend to shoot a simple video of you playing a one-take performance of your song, and make sure you record high-quality audio. If you’re not able to do that, filming a quick selfie video on your phone can work too.

Try Targeted Social Media Ads

You can run Facebook and Instagram ads targeted at people who live in the area of your concert and who also like similar artists to you (you’ll have a bunch of other parameters too, but these are key). The important thing is to quickly convey what type of music you make so people who haven’t heard of you can decide if your concert is worth going to. This is where a live performance video could come in handy.

Sell Package Deals

You don’t have to sell standalone tickets – you can offer an extra goodie along with each ticket. You can offer a package deal that includes a concert ticket and a piece of merch at a discounted rate. This method is more for your loyal fans who are more likely to want your merch.

Offer Discounts for Loyal Fans

Speaking of loyal fans, you can show them your appreciation by offering discounted tickets with a secret code. You could offer this to your email subscribers, patrons, or on a first-come, first-serve basis via social media.

The Main Goal of Playing Concerts

Remember, even if you don’t make a ton of money from ticket sales, you’re still succeeding if people come to your show. Because the main goal of playing shows is to connect with people IRL. There’s nothing like watching a talented musician perform their songs in real-time. There’s an energy at a concert that listeners don’t get when streaming your music.

The goal is to connect with current fans and make some new ones. That will help you last long-term in the music industry. 

Photo credit: Fath

I’ve seen a debate among independent musicians: to pre-save or not to pre-save? Some people say you should just put the song out and then promote it. Others say pre-release hype leads to more streams on release day. So let’s talk about the pros and cons of a Spotify pre-save campaign and how to set one up if you want to.

What Is a Spotify Pre-Save Campaign?

A Spotify pre-save campaign is when you allow fans to save your song before it comes out so that when it drops, it will automatically be in their library. It’s also supposed to show up on listeners’ homepages if they’ve pre-saved it.

What’s actually happening is, listeners give a third party company permission to save songs to their library. So on release day, this third party adds your song to the libraries of all the pre-savers. Although as of this writing, Spotify is rolling out their own version of pre-saves to select artists called Countdown Pages.

The Downsides of a Spotify Pre-Save Campaign

While many indie artists find pre-save campaigns helpful, there are definite downsides. Here are a few…

Saves aren’t everything

When someone pre-saves your song, the third party you use will add your song to listeners’ liked songs. But saves aren’t everything to the Spotify algorithm.

Spotify looks at multiple engagement points, including:

• Streams
• Playlist adds
• Repeat listens
• Minimal skips
• High save-to-stream ratio
• Song shares

So even if you get a bunch of saves from a pre-save campaign, that doesn’t mean people will actually listen, share, and add the song to their playlists.

Now, theoretically, when the Spotify algorithm sees that your song has a bunch of saves on release day, it’s more likely to push it to the algorithmic playlists, like Discover Weekly, Spotify Radio, Your Daily Mix, Release Radar, and Radio. But you can’t rely on the algorithm to do all the work for you.

Many fans won’t save a song without hearing it first

As a listener, I don’t like pre-saving an artist’s song, even if it’s an artist I follow and love. And I don’t think I’m alone in this. I want to support my fellow artists, but I don’t want songs saved to my library if I haven’t even heard it first. I like to curate my listening algorithm by only liking songs I actually like, and then I add them to one of my vibe-specific playlists.

A pre-save is a big ask in an asking world

Nowadays, everyone is asking for stuff. Every artist is asking for something from listeners, so asking for a pre-save feels like a big ask. You don’t want to get lost in the sea of requests.

The Benefits of a Spotify Pre-Save Campaign

I’m not totally anti-pre-saves. They work for a lot of artists. So here are some of the upsides…

A bunch of saves on release day

Even though Spotify looks for more than just saves, it definitely helps to get a bunch of saves on release day. It does increase the chances of pre-savers listening and the algorithm pushing the song out to new people.

You can collect emails

This is probably the most beneficial aspect of pre-save campaigns. When someone pre-saves your song, they agree to share their email address with you (they don’t have to enter it, the campaign just pulls their Spotify email address). You can then add them to your email list and contact them about future music.

People who pre-save your song also become your follower

When someone pre-saves your song, they also automatically follow you on Spotify. As long as you make this clear in your marketing of the pre-save campaign, this could lead to a bunch of new followers who stick around instead of immediately unfollowing you.

How To Set Up a Spotify Pre-Save Link

Okay, now that you’ve read about the pros and cons of a Spotify pre-save campaign, maybe you want to try it out. If so, below are some places you can use to set up a pre-save link, assuming Spotify hasn’t given you access to Countdown Pages yet.

• DistroKid (free for DistroKid users)
• Soundplate (free)
• Music Gateway (free)
• Show.co (paid)
• Presave.io (paid)

Photo credit: OPPO Find X5 Pro

I’m a single father of two, so balancing my music career and family life is…interesting. It takes intention, so this topic is something I’ve thought about a lot. Sometimes I’ve done it well, many times not.

What I’ve experienced is, sometimes you face a crossroads. Sometimes you have to choose: music or family? Or is there a third option?

Here’s an anecdote that shows what I mean…

I had been working on one of my albums for about a year. And I was in the final stages, trying to finish the mixes. The songs were almost done.

And while I was hyper-focused on EQing an instrument, I heard a little voice behind me say, “Daddy?”

It was my two-year-old son.

I turned around to see his huge, infectious smile. He reached for one of my guitars, excited to make music with me.

And this is the moment where I faced a crossroad…

One, tell him to leave the room because dad was busy working. Or two, involve him in the mixing process.

I chose option two, and I’m so glad I did.

I picked him up, put him on my lap, and we EQ’d that song together. Yeah, I wasn’t able to mix as quickly as I would’ve if he weren’t there. But in that moment, we were both happy.

So whatever “family” looks like to you – whether you have kids, a significant other, siblings, or close roommates – this post may help you balance it with your music.

Let me share some things I’ve learned about balancing my music career and family life…

Time Is the Most Valuable Thing You Have

As a self-employed person, I’m able to incorporate my music endeavors into my workday. I realize I’m fortunate. But it wasn’t always that way.

For many years, my only time to make music was from about 9 p.m. to whenever I had to go to bed. This is the life of most part-time, indie musicians. You learn how to squeeze music into your life wherever you can.

Time is your most valuable asset. When you have family time, try to be present and soak it up. And when you have time to pursue music, turn on your laser-focus.

Work Quickly

Credit: Austin Kleon

Because time is valuable and limited as a family-person musician, you must work quickly. You’ll actually find you work quickly as an instinct. Limited time forces you to make creative decisions instead of getting stuck.

Limitations can be good for you.

Ernest Hemingway wrote a six-word poem/story as a bet. Folk artist Nick Drake recorded his album Pink Moon in two overnight sessions. You have limited time, so you get more done.

Because both family and music are important to you, your limited time can be a catalyst to be great at both.

Just Do One Thing

Here are two things that don’t mix well: limited time and a long to-do list.

Saying “no” is a power move. It allows you to say “yes” to what’s most important. As Derek Sivers puts it, “If you’re not saying ‘HELL YEAH!’ about something, say no.”

Every time I send the 5 Things To Help You Keep Going email, I sign off with “Just do one thing today.” The idea is to pick just one thing to do for your music career if that’s all the time you have. Because one small step forward is better than standing still.

Listen To the Teachers Around You

Your family can be your teachers if you let them.

This is especially true if you have kids. For example, I’ve gotten song lyrics from random things my kids say.

If you listen well, you can find inspiration in everyday conversations involving your family.

Bob Dylan said, “Poets do a lot of listening.” So bend your ears to the people around you.

What’s Most Important To You?

Your family won’t be around forever. I don’t mean that in a pessimistic way. But if you have kids, they will grow up and you’ll see them less. Your siblings graduate, get careers, and sometimes move away. Your significant other at some point will pass away – in the words of Jason Isbell, “Maybe we’ll get forty years together. But one day I’ll be gone, or one day you’ll be gone.”

So here’s something to remember, and I’m saying this to myself too…

Remember what’s most important to you. On your deathbed, will you have regrets? If so, will they be related to not spending enough time with loved ones? Just something to think about.

P.S. – if you want the perspective of two producers/engineers, check out this episode of the That Sounds About Right podcast. 

Photo credit: Markus Winkler

You should be stealing stuff from other songwriters and musicians. It’s one of my favorite ways to create music, or to get unstuck. Let’s talk about it.

What I Mean by “Stealing”

Bestselling author (and one of my faves) Austin Kleon is “a writer who draws.” And in his book, Steal Like an Artist: 10 Things Nobody Told You About Being Creative, he talks about how to rip off other artists.

To steal like an artist, you need to let your heroes intentionally influence your work. In other words, use their art as a starting point for your own.

Take another artist’s song and use it as a jumping off point for yours. Combine some of this artist’s lyricism with a bit of that artist’s musicality. Then mix it with something in your head and you’ll end up with a song that’s totally yours.

Now, Kleon says you should always give credit to the people who have influenced you, and obviously yes. Be humble. Admit you are influenced by others.

And when I say “steal” and “influence,” this is not “plagiarism.” Plagiarism is straight-up playing someone else’s music and saying it’s yours. Influence is letting others’ work color your own.

How You Can Steal Like a Musician

So if you want to get unstuck and create work you’re really proud of, here are some things you can try. I do all of these and I’m almost always happy with the results.

1. Rewrite someone else’s song

This method has led to some of my strongest songs.

First, rewrite the lyrics to one of your favorite songs, but in a way you would say it.

For the music, play the song’s chord progression backwards. Or only play every other chord. Maybe remove the last chord. Play the same chords but in a different key and in a different time signature.

For the melody, start with the first two notes of someone else’s melody, then create your own melody from there.

See? Other people’s songs can be a starting point for yours.

2. Build a song from sampled beat

Producers commonly use a sampled kick or snare from another song to build their own. If you want to do this, you of course need to stay legal.

First, find a beat on a site like Splice, LANDR, or Pond5.

Then you can run that beat through a sampler so you can manipulate the individual elements (kick, snare, hi-hat, etc).

Start your song this way, then build from there.

3. Use a reference track during production

When I produce a song for an artist, I ask them to send me a reference track – a song they want theirs to sound similar to. So when I produce the track, I’ll borrow elements and ideas from that reference track.

For example, I’ll listen to the drums in the reference track, then try to program similar sounding drums in the artist’s song.

Obviously, I’m not going to get the same exact drums, but that’s the beauty of creating music. You’re making something new.

To steal like an artist means you intentionally find influence from other artists so you can create something that’s unique to you. 

Photo credit: Nicholas Green

For me, and I believe for most indie artists, getting discovered by a label is not really the end goal. Mainly because I don’t want to give up control of my songs. Yeah, if a label wants to talk, I’ll talk and be open to their offer. But my goal is to share my music with as many people as possible. I want to build my own thing, and I think many indies are on that same path. And even if you want to get signed to a label, you’ll need to have built a large fan base before they sign you. So let’s talk about getting discovered by fans.

Think About Where You Discover Music

That’s it. That’s the whole secret. Think about where you discover music, then make sure you are discoverable in those places.

Currently, the main places I discover music include:

• TikTok
• Live performances
• Spotify algorithmic playlists
• Friends sending me music
• TV shows, commercials, and movies

So in the next section, I’ll use the above list as a starting point. I’ll talk about ways you can get discovered by fans in these places.

How To Get Discovered by Fans In These Places

Here’s how to make sure fans can find you in each of the places fans commonly find artists…

Social media algorithms

The social media landscape could look very different this time next year. But right now – with the way algorithms are targeting new people, not just followers – social media is an effective way to get discovered by fans. I’ve found so many indie artists on TikTok specifically. So naturally, I post content featuring my music on TikTok, Instagram Reels, Facebook Reels, and YouTube Shorts regularly. And I’ve gained new fans because of them all.

Live performances

There’s nothing like a concert. Experiencing an artist or band perform their heart out for a roomful of active listeners is a special kind of thing. And those kinds of experiences have led me to look up the artist online and stream their songs. So if you like performing, get out there. Open mics. Breweries. House concerts. Whatever fits your vibe. Then perform like it’s your last chance at a music career.

Spotify algorithmic playlists

In my experience, Spotify’s algorithmic playlists do a good job of recommending music I’d like. Obviously, it’s not 100% right all the time. But I’ve discovered several artists through the “Made For” playlists, like Discover Weekly and the Daily Mixes. This is why I try to get my music on curator’s playlists – Spotify sees the playlist adds and that helps trigger the algorithm to feed my music to more people. Currently, 30% of my streams come from Spotify algorithmic playlists (second behind “listener’s own playlists and library” at 52%).

Friends

Classic word-of-mouth is still one of the most powerful ways for music to spread. But most of the time, it’s not even a direct recommendation –  I’ll hear and like what my friends turn on in the car or as background music at their hangout. So ask your audience to add your songs to their playlists. If the music is compelling enough, they will have already added it to their playlist. But a little nudge could help.

Shows, commercials and movies

I can’t tell you how many times I’ve whipped out my phone to Shazaam a song during a commercial, TV show, or a movie. If your song makes a viewer’s ears perk up, you’ve gained a new fan. That’s why sync licensing is not only a way to earn big payouts and backend royalties, but it’s also one of the best ways to get discovered by fans. Especially if you land a prominent placement.

Coffee shops

This only applies to you if your music fits the vibe of coffee shops. I’ve discovered many artists while just sitting in a Starbucks. So what I’ve done (and what you can do) is give my artist name to the barista who created the playlist. There’s not really a way for me to measure if this works, but it couldn’t hurt to try!

A cover song can do a lot for an artist. It engages the artist’s current fans while inviting in the fans of the songwriter they’re covering. It’s also just really fun to re-imagine someone else’s song as your own. So let’s talk about how to legally cover a song.

Some Quick Facts About Covering a Song

In the next section, we’ll get into the details of how to prepare to release a cover song. But first, let’s do some rapid fire facts that you need to know about covering a song.

1. You don’t need permission directly from the artist

You don’t need approval from the songwriter or publisher or record label in order to cover their song.

2. You need a mechanical license

Instead of getting verbal or written approval directly from the songwriter, you can simply get a mechanical license. This process ensures the songwriter and publisher get paid and credited. It also covers you legally (more on that below).

3. If you want to make a music video, you need a sync license

Let’s say you record and release a cover song, and now you want to make a music video for it. You need a sync license to do that. And unlike a mechanical license, you do need prior permission to obtain a sync license (more on that below).

How to Legally Cover a Song (It’s Easy)

Okay, after you’ve finished recording, mixing, mastering, and creating the artwork for your cover song, it’s time to legally release it. Follow the below steps and you’ll be good to go.

Step 1: Get the mechanical license

Before you release your cover song, you’ll need a mechanical license. Fortunately, it’s a very easy process.

Here are some ways to do that:

• Use a music distributor that obtains mechanical licenses for you
• Use Easy Song to get a mechanical license (under $15, usually in 1-2 business days)
• Use Songfile and get a mechanical license ($16)

Step 2: Get the sync license (if you’re making a music video)

If you want to make a music video for your cover song, you’ll need to obtain a synchronization (sync) license).

Here are some ways to do that:

• Use We Are The Hits (“the official cover song video network”) to get the sync license.
• Rely on YouTube’s Content ID – you can mark your video as a cover song, which alerts the songwriter and publisher that their song is being covered so they can either 1) remove your video or 2) monetize it for themselves

Step 3: Choose a music distributor

The way I like to legally release a cover song is to use a music distributor that obtains a mechanical license for me.

For example, I distributed my cover of “Someday” by The Strokes through Soundrop. I distributed it like normal, I just checked a box that said it was a cover song and Soundrop did the rest.

And many other distributors do this, like DistroKid for $12 a year or Tunecore for a one-time fee of $70.

Step 4: Register your cover song to earn royalties

You don’t own the rights to the cover song so you won’t earn the songwriter’s share of the royalties. But you do own the recording of that song, which you can earn royalties for.

Here’s where you should register your cover song in order to get paid the royalties you’re owed:

• Your music distributor will collect and send you streaming and download royalties
• SoundExchange collects non-interactive streaming royalties (from places like Pandora, iHeart Radio, SiriusXM)
• A publishing admin company, which can collect mechanical royalties generated from streams or downloads of your music
• Your Performance Rights Organization, which will collect any royalties owed to you if your cover song is used on TV or in a movie

And that’s how you legally cover a song. (Note: this post is not legal advice, it’s simply a guide to point in the right direction so you don’t get sued).

Covering a Song vs. Sampling a Song

Just to clear up any confusion, a cover song is when you release your own recorded version of someone else’s song. A sample is when you use someone else’s recording of someone else’s song. If you want to know how to legally sample someone’s song, check out this post.

Photo credit: Kelsy Gagnebin

I’ve talked about books I think musicians should read. But I want to narrow it down to books I think songwriters should read. So below are some of my favorite books that have helped me as a songwriter. They talk about living a creative life, include stories from other songwriters, and will offer inspiration.

Songwriters On Songwriting

Songwriters On Songwriting by Paul Zollo is a collection of 52 interviews with some of the most renowned songwriters of modern music. Each interview is the transcript, so it’s like you’re eavesdropping on an insightful conversation about songwriting.

For example, Tom Petty talks about working with Bob Dylan. Dylan claims we don’t need any more new songs. Madonna talks about working with Prince. Paul Simon shares his songwriting process. And lots more interesting and helpful stuff for songwriters.

More Songwriters On Songwriting

Zollo kept it going with his follow-up to Songwriters On Songwriting – More Songwriters On Songwriting. It’s exactly what you think it is. More interview transcripts with even more songwriters. In this book, you hear directly from Peter, Paul and Mary, James Taylor, Randy Newman, John Prine, and Disney songwriter Richard Sherman. It also includes interviews with younger songwriters, like Matisyahu and Sia.

The Creative Act

In this book, legendary music producer Rick Rubin shares his thoughts on being a creative person. It’s not specific to music, but it’s inspiring for any musician. I recommend this book for songwriters because, especially in today’s music world, it’s easy to get obsessed with optimizing your music for listeners. It’s easy to lose touch with the deeply meaningful creative aspect of making music. Rubin reminds us to live a creative life, not just “being a musician.”

It’s All In Your Head

This short, easy read from indie artist Russ is encouraging and inspiring. Russ has built up a loyal fanbase, all as a totally independent rapper. Just to give you an idea – as I write this, Russ has 14+ million monthly listeners on Spotify.

Each chapter is the title of one of his songs, and in each one he teaches lessons based on his experience as a musician, his relationships, and his family life. He focuses a lot on self-belief, which every songwriter needs more of.

 Miracle and Wonder: Conversations with Paul Simon

This is exclusively an audiobook, and for good reason. Malcolm Gladwell interviews Paul Simon on his career, what inspired certain songs, and his songwriting process. In the middle of some of the interviews, Simon plays or sings something as part of the story he’s telling.

If you’re a fan of Simon & Garfunkel or of Simon’s solo work, this is a must-read. But even if you don’t listen to Simon’s music, there’s still plenty to learn and be inspired by in this audiobook.

Your Favorite Poetry Books

I’ve gotten some of my favorite lyrics and song titles from poetry. A line will jump out to me, I’ll modify it, and then I’ll turn it into a song. I think even just the act of reading creative writing that makes you think loosens my writing gears.

I’m fairly new to the poetry world, but some of my favorites include Billy Collins’ Sailing Alone Around The Room and anything by Hanif Abdurraqib.

Photo credit: Jakayla Toney

We’re all out here trying to get people to listen. And it’s not a competition. Listeners can love more than one artist. “A rising tide lifts all boats.” So I want to share my single release plan and I want you to steal it.

I believe the majority of your music marketing should happen after the song is out. So keep that in mind as you look over this plan. Then modify it to fit your needs/preferences.

Where I Was vs. Where I Am Now

In August 2022, I had maybe a few hundred monthly listeners on Spotify. I had about 400-500 Instagram followers. I wasn’t really making much traction. If I was, it was snail-paced slow.

Then in September 2022, I decided to prioritize making short-form content for TikTok, Instagram Reels, and YouTube Shorts. This coincided with my plan to release one song every 4-6 weeks.

Almost immediately after I started posting content, I saw my music gaining traction. Every time I’d post, new people would find me. My streaming numbers started to climb.

Now as I write this, I have about 5,200 monthly listeners on Spotify (although I cracked 8,000 a couple months ago), just over 1,700 Instagram followers, and one of my Reels went mini viral (172k+ views, 18k+ likes, 80+ comments).

I share these stats to show you that what I’m doing seems to be working. So I’m going to share my single release plan in hopes that it helps you.

My Single Release Checklist

Here are all the steps I go through each time I release a song. Feel free to give this a try and modify it to your needs.

1. Create the artwork

My go-to is Canva. Lately I’ve been using a combination of DALL-E and Canva. But there are tons of options for creating cover art.

2. Schedule the release

To get your music on Spotify, Apple Music, etc., you’ll need a digital distributor. I currently use Soundrop, but you should choose the distributor that fits your needs.

3. Register the song with a PRO

A Performance Rights Organization collects royalties generated from the public performances of songs and delivers them to the artist. You need to register every one of your songs with a PRO – BMI (what I use) or ASCAP in the United States, SOCAN in Canada, and PRS in the United Kingdom.

4. Create a video with the cover art

Create a video that’s simply the cover art with the song playing on top of it. Add a fade in and fade out if you’d like. This is good for YouTube, your website, and your social media.

5. Create a Spotify Canvas

Having a Spotify Canvas increases a song’s shares by 145%. So make one for each song.

6. Schedule for release on alternative streaming sites

Next, I upload the song to SoundCloud and Bandcamp, set them as private, then make them public on release day. I also upload the video with the official audio (that I made in step #4) to YouTube and schedule it to go live on release day.

7. Submit to playlists, blogs, and radio stations

When it comes to landing a spot on Spotify playlists and getting blog write-ups, I’ve had the most success through SubmitHub. But there are several other ways to get on playlists.

8. Submit for sync licensing

I have a couple sync licensing companies I submit each new release to. I’ve gotten placements through Crucial Music and Music Vine, but there’s a plethora of other companies. It’s just a matter of finding the ones you like.

9. Send to my email subscribers on release day

My email list is small but loyal. My open rate is about 40% (twice the industry average) and my click rate is about 3% (above industry average). My point is, people still use email as a way to get updates from musicians they like.

10. Register with SoundExchange and a publishing admin company

SoundExchange collects digital performance royalties for “non-interactive” streams, meaning the listener can’t choose the music. Think Pandora, SiriusXM, and Beats 1.

A publishing administration company can collect your performance royalties if you’re not already registered with a PRO. They also collect performance royalties from other countries (even if you are registered with a PRO) as well as mechanical royalties.

These are two of the four places that need to be paying you for your music.

11. Create short-form content

I create short-form content that can be recycled across all the social media platforms.

Here’s what it looks like for me:

1. I create a TikTok
2. Use a website like SSSTIK to download the TikTok without a watermark
3. Repost that video on Instagram Reels, Facebook Reels, and YouTube Shorts
4. Save the watermark-less video on a hard drive so I can repost it in the future (or post it on whatever new platform pops up)

Modify This Single Release Plan As Needed

We all make different music, we each have our own voice, and one approach to music marketing may work for one of us and not for another. Use this single release plan as a template and modify it to fit you.

Photo credit: Gabriel Benois

I do a lot of remote collaboration. I’ve co-written songs remotely and I produce artists from around the world. So I’d like to share some tools that can make your next remote collab easier.

When It Makes Sense To Collaborate Remotely

Here are the most common reasons remote collaboration makes sense for musicians…

Remote production

If you’re trying to get into music production, you’re not just limited to the artists in your area. You can find clients on social media and on sites like SoundBetter.

Hiring session musicians

Speaking of SoundBetter, you can use this site to find and hire session musicians from around the world.

Co-writing

Let’s say you find a songwriter on Instagram with whom you want to write a song. Well, it’s possible thanks to today’s technology.

Scheduling conflicts

Whether or not you’re in the same area as another songwriter or musician, you can still collaborate remotely if you can’t sync up your calendars.

Extenuating circumstances

All I need to say is, COVID-19. It’s rare, but something could happen that doesn’t fall into the above categories. And you may lean on remote collaboration in those times.

4 Tools To Help You Collaborate Remotely

Two of these tools I’ve used and I’ve heard good things about the other two tools.

SonoBus

SonoBus is an app and plugin that lets you share high-quality audio in real-time. You just throw the plugin onto your master bus, share the “room” link with the other person, and they can listen in through the app.

I used it for a production and mixing session with one of my artists. He said the audio quality was great, but there was some glitching. But it was good enough that we made really good progress.

Zoom

It is possible to share your audio via a Zoom call. I’ve tried this. It’s not amazing, but it works in a pinch. The audio shared was okay quality and there was some lag. But it can definitely be an option.

LISTENTO

LISTENTO lets you share high-quality audio from and to any DAW. They claim you can have “no dropouts or variable bitrates.”

One reviewer on Reddit said it doesn’t work well for remote jam sessions.

“There is a slight lag,” they wrote. “Just large enough that drums and true tempo elements don’t work in real-time.”

But another Reddit reviewer said, “Most of my mixing clients tend to like using it rather than coming over cause they can stay at their home and listen to the mix on a system they know.”

Sessionwire

Sessionwire works like SonoBus and LISTENTO – it transmits high-quality audio from DAW to DAW remotely.

The official Sessionwire account said this on a Reddit forum:

“…Live jamming would not be in perfect sync. However, recording back and forth will be.”

Choosing one of these tools for your next remote collaboration comes down to this: price, compatibility with your gear/software, and how you like/dislike the interface.

Photo credit: Techivation

I just set up my recording stuff in one of my bedrooms at my new place. So setting up and treating my home recording studio has been on my mind. This post will show you all the steps to get your home studio up and running.

How Sound Bounces Around a Room

Before you start hanging diffusers and bass traps around your home studio, you have to understand how sound bounces around a room.

When you make noise with your voice or instrument, those sound waves move out in all directions. The ones that go straight from the source to the microphone are called “direct sound.”

The sound waves that don’t go directly into the mic bounce around the room, creating reflections that come back to your ears and/or the mic. Those sound waves are called “reflected sound.”

Now, when you’re recording, you want to isolate the direct sound as much as possible. It’s the most accurate sound of the source and will sound the best. So the more reflected sound that hits the mic, the worse the recording will be and the less control you’ll have over the final sound.

That’s where acoustic treatment comes into play. It’s all about reducing the reflected sound and highlighting the direct sound.

Choosing a Room

If you have options for rooms to use, this section is for you. And unless you’re up for some serious construction, it’s rare to find the “perfect” room. Just go with the best option available.

So here are some considerations when choosing a room for your home studio…

Room size

Avoid the super small rooms if you can. Acoustically, they’re not ideal. Not that you can’t use a small room – I’ve recorded albums and singles in a walk-in closet.

If you have a less-than-ideal room, it’s best to deaden the sound as much as possible. Because you can always add emulated room sound with reverb and delay, but it’s very difficult to remove the natural reverb of a room.

Room dimensions

It’s rare to find a perfectly square room, but if you come across one, try to avoid using it as your home studio. Square rooms tend to have a buildup of sound waves.

Instead, go with a rectangular room.

Room surfaces

Rooms with lots of hard, flat surfaces are not your best option. Like concrete basements, for example – they’re a recording nightmare. Steer clear of rooms with massive windows, mirrors, and concrete. Fortunately, you can add things to the walls to help absorb and diffuse the sound waves.

On the other hand, wood floors are helpful. If you’ve got a wooden floor, put a rug or two down and it’ll help the sound a lot.

Ceiling height

Lower ceilings aren’t exactly ideal, although many houses don’t have super high ceilings. In rooms with low ceilings, reflected frequencies bounce back to the microphone at a faster speed, creating an unsightly mess of overlapping frequencies. That’s where acoustic treatment becomes helpful.

Noise control

When you’re choosing a room, listen to the inside and outside noise of the room. Inside noise would include the sound of the pipes and any floor squeaks. Outside noise could be neighbors or car sounds. Do your best to choose the quietest room.

How To Set Up Your Monitors

Next, it’s time to set up your monitors. The best place to start is by reading the user manual. It will give you directions on how to set up the speakers based on the make and model.

But here are some general tips for setting up your monitors:

• Position the monitors at the minimum recommended distance from the wall behind them (read the user manual for this)
• Make sure the distance between the monitors and the wall behind them is not the same as the distance between the monitors and the side walls
• In bigger rooms, put the monitors along the longer wall
• In smaller rooms, put the monitors along the shorter wall
• Create an equilateral triangle between the monitors and your head
• Point the monitors at your ears

Treating Your Room

In any room, there are three trouble spots that you need to address: the dihedral corners, trihedral corners, and the walls.

• Trihedral corners: where the walls meet the ceiling or floor, forming three corners.
• Dihedral corners: where the walls meet each other, comprising two surfaces.

The top priority is the top trihedral corners and then the dihedral corners and lastly the walls.

Why this order? Well, the more surfaces soundwaves can bounce off of, the greater the potential for unwanted sound buildup.

Trihedral corners need bass traps

Lower frequencies tend to build up in the trihedral corners, specifically the top corners because there are three surfaces converging. So bass traps are made to absorb low-end frequencies.

Dihedral corners need absorption panels

For the dihedral corners where the walls meet, you’ll want to place absorption panels, also known as acoustic panels.

The priority spots for absorption panels are:

• Directly behind the monitors
• On the side walls at ear height
• The wall behind your chair, opposite the monitors

Also, consider handing a thick curtain or blanket over any windows because glass is a very poor reflection surface.

Walls need absorption panels and diffusers

Absorption panels absorb sound. Diffusers scatter soundwaves, which is much better than a flat wall because it varies the time it takes for the sound to reach the microphone and/or your ears.

Professional-grade diffusers can be pretty expensive, but pretty much anything can act as a diffuser. I have guitars, hand drums, and art hanging on my studio walls, and those things double as diffusers.

Ceilings need clouds

We can’t forget about the ceiling because sound waves will bounce off of it too. Ceiling clouds are a type of absorption treatment that you hang above your head, roughly between the monitors and your ears.

If you can’t afford a professional-grade ceiling cloud, you can use a thick blanket instead (this is what I do).

A Few Tools To Help You Treat Your Home Recording Studio

Here are a couple of tools that will help you get the best sound from whatever room you have.

First, the GIK Acoustics Visualizer will show you where to place acoustic treatment based on your room size and dimensions. And it will show you a 3D model of what it would look like.

Second, SoundID Reference from Sonarworks is an app and plugin that will calibrate your headphones and speakers to your room, giving you a more accurate sound.

Lastly, use reference tracks. After you’ve set up your studio, listen to music you’re familiar with that you know sounds great. This will help you know if your room has too much bass buildup, an ugly reverberation, or some other problem.

Getting a good recording and a good mix involves knowing your room. And reference tracks will help you learn your room.

Photo credit: Noah Buscher

If you’re feeling stuck as a songwriter, this post is for you. Actually, let me rephrase that: when you feel stuck as a songwriter, revisit this post. Below you’ll find 14 songwriting prompts that will get you unstuck and writing again.

There’s No Such Thing as Writer’s Block

First, let’s talk about “writer’s block.”

It doesn’t exist. It’s an excuse.

When someone says they have writer’s block, what’s really happening is that they’re editing themselves during the writing process.

They’re trying to write a great song every time they write a song. But that just isn’t going to happen. You will write bad songs before you find the good ones.

“When you flip a dirty tap on, it’s going to flow sh*t water out for a substantial amount of time,” says Ed Sheeran. “And then clean water’s going to start flowing.”

Okay, now let’s look at the songwriting prompts…

Rewrite Another Songwriter’s Song

This is one of my favorite songwriting prompts. When I do this, I end up with a song I really like 9/10 times.

Pull inspiration from the chord progression. Write their lyrics the way you would say them. Try to make your song sound like another songwriter’s song – it won’t end up sounding like that songwriter, it will sound like you.

Do Stream-Of-Consciousness Writing

Get a pen and paper, your laptop, or your phone. Then start writing or typing whatever comes into your brain. Don’t edit yourself, even if the words coming out are gibberish. Just don’t let your hands stop moving for, say, 5 minutes.

When you’re done, look through what you wrote, pull out words and/or phrases that are interesting, and go from there.

Make the Music First

Once you have the chords for every part of the song, sing it until you come up with the melody and lyrics. You could even start producing the instrumental before writing the melody and lyrics.

Start With a Poem

Don’t even touch your instrument. Just write a poem. Give the words a rhythm, or don’t. When you’re done, see if you can turn that poem into a song.

Write a Song in a Day

Limiting yourself can really push you to make decisions. And the inability to make decisions is at the root of “writer’s block” and never releasing music.

Just write a song today. It doesn’t have to be good. It doesn’t have to fully make sense. But get something out in a day. This practice will help you write your good songs faster.

Start With Random MIDI Notes

Pull up your DAW and create a new MIDI track. Then draw a bunch of MIDI notes with no particular pattern or key. Play it back and see if there’s an interesting melody in there.

Brainstorm 5 Song Titles

Great songs often have interesting song titles. And many songwriters start their songs with the title. So brainstorm 5 song titles right now and jot them down. Do this every day and you’ll eventually find a song title that’s worth turning into a song.

Tell a True Story in Front of the Mirror

Humans are story-driven creatures. That’s why story songs resonate with so many people.

So stand in front of the mirror and tell yourself a true story. Then turn that story into a song.

Use an Instrument You Don’t Play

Sometimes knowing too much can get in the way of writing a song. When you start writing a song on an instrument you don’t play, you end up stumbling upon a cool melody or chord that you wouldn’t have if you were familiar with it.

Write a Letter To Someone

Whether you like the person or hate them, write them a letter (don’t send it). Turn that into a song.

Think of a Sad Story

This could be a story from your life, someone else’s life, or even a movie. But get into it, really feel it. From that emotional state, write a song about that story.

Limit Your Melody to 5 Notes

Limits can lead to creativity. So, see what happens when you limit your melody to just five notes.

Look At Your Last Text Conversation

Turn that conversation into a song.

Today Is Your Last Day On Earth

What would you say? Who would you miss? What would you regret? What does your life look like?

Photo credit: Erik Mclean

I just moved from Austin, Texas to Richmond, Virginia. It was for personal reasons, but it made me think: how might this move benefit my music career? So this post will cover why you may (or may not) want to move to a music city. And by “music city,” I mean a city with a vibrant music scene. Lots of concerts and open mics, a strong music community, and even organizations that help musicians in some way.

What Are the Top Music Cities in the United States?

According to a survey of 1,320 people done in December 2022, below are the top 20 music cities…

18. Portland, OR (tied)

18. Columbus, OH (tied)

18. Dallas, TX (tied)

17. Kansas City, KS

15. Philadelphia, PA (tied)

15. Detroit, MI (tied)

13. Seattle, WA (tied)

13. Asheville, NC (tied)

12. Washington DC

11. Boston, MA

10. San Francisco, CA

9. Denver, CO

8. Memphis, TN

7. Chicago, IL

6. Las Vegas, NV

5. Los Angeles, CA

4. Austin, TX

3. New York, NY

2. New Orleans, LA

1. Nashville, TN

And yes, I moved from one of the top five music cities to a city that’s not even on this list. But Richmond still has a decent music scene. And, because I mostly do remote production, I don’t exactly need to be in a music city.

So when I say “music city” in this post, I’m thinking about one of the music cities on this list. However, there are plenty of cities not on this list that have healthy music scenes.

When It Makes Sense To Move To a Music City

Here are the main reasons it might make sense for you to move to a music city. If these reasons don’t match your goals, then you may be just fine staying where you are, or moving to a city not on the above list.

If You Play Live

This is the most obvious reason to move to a music city. If you live in Nowhereville, no one will come to your shows. In fact, you may have trouble finding venues to book you.

Whereas, in a music city, you have so many places to play and an audience hungry for live music. It will also be much easier to find other musicians to join you on stage.

On top of this, it’s more likely there will be an industry professional you may want to meet sitting in attendance at one of your shows (if that’s something you want).

If You Want a Publishing Deal

A publishing deal is when you, a songwriter, sign a contract with a publishing company to exploit your songs for profit for both parties. So basically, you write songs and the publishing company tries to get artists to record and release those songs (unless you’re also an artist).

A publishing company also:

• Assists in getting songs placed on TV and in movies
• Collects and distributes songwriter royalties to you
• Connects you with other songwriters, often songwriters on their roster

The best way to get a publishing deal is to do an in-person co-write with a songwriter who already has a publishing deal. Then, if you end up writing a good song, that songwriter’s publishing company may take notice of you.

If You Want To Collaborate

Speaking of co-writing, moving to a music city gives you more opportunities for collaboration. This can also include starting a band, joining musician networking groups, and co-producing songs with other artists.

Yes, you can collaborate remotely. But in my experience, in-person collabs are much more efficient and lead to better results. There’s something special about connecting with another human in the same room.

If You Want To Do In-Person Production

If you’re a songwriter or artist who wants to work with a producer in-person, or if you’re a producer who wants to work in-person with a songwriter or artist…

It’s best to be where they are.

You can definitely produce songs remotely (I do a lot of that). But the times I’ve produced a song with someone in the same room, it’s been a way better experience. We get a lot more done in a lot less time. And similar to co-writing in person, something about the flow and energy in the room leads to better results.

I know first-hand, moving to a whole new city is a big deal. So hopefully, this post has educated you on whether it makes sense for you. 

Photo credit: Westwood Instruments

I work out of a small bedroom recording studio. But if I want a grand piano in my song, I can have one. If I want an 80s-style electric piano, I can have that too. And if I want an upright felt piano sound, I can have it. That’s the beauty of today’s music technology. So as an indie artist and music producer, here are four of my favorite piano plugins. I highly recommend you check them all out.

(Note: neither I nor Digital Music News are getting any kickbacks for mentioning these companies or plugins. These are simply just my favorite piano plugins).

Spitfire Labs Soft Piano (Free)

The Spitfire people recorded a felt piano with two Schoeps MK 4 microphones (cardioid condensers). Then they turned it into a free plugin called Soft Piano.

And it’s gorgeous.

I love a soft, felty piano sound, so this plugin is one of my most used pianos.

And the best thing is, you can get it for free here.

Westwood Instruments Upright Felt Piano (Free)

Speaking of felt piano, Westwood Instruments has made an absolutely beautiful felt piano plugin.

They recorded the sounds on a “piano handed down through three generations” with Coles microphones through Neve preamps.

The result is an intimate piano sound where you can hear the hammers hitting the strings.

Get it for free here.

XLN Audio Addictive Keys

Here’s why I like Addictive Keys…

It includes dozens of piano sounds. They all sound so good. And you can tweak the settings of each sound to your liking, even the mic placement.

But if that feels overwhelming, the default sounds will do just fine.

You can grab your choice of Addictive Keys package here.

Arturia Analog Lab V

This plugin is not strictly a piano plugin. In fact, it has tons of sounds, most of which are not piano.

It has a bunch of different styles of synths, strings, bass, drums, and other unique sounds.

Within the huge library are some nice piano sounds. Overall, definitely a great buy for home producers.

Check out Analog Lab V here.

Photo credit: Strauss Western

Imagine you’re on your deathbed. You’re probably deep in thought about your life – what it all means, who you’re leaving behind, wondering if they’ll be okay, realizing finally what’s actually important to you. You’re probably feeling existential.

But I can tell you what you’re most likely not thinking about…

Your Spotify stats.

How you could’ve improved your music marketing.

Whether you should’ve ended that one song on the 1 instead of leaving it hanging on the 4.

You see, when you zoom out, these things don’t matter.

I’m not saying you shouldn’t focus on the little details right now. Those are important.

But these little things – the seemingly small decisions – tend to hold us back. Or I should say, we get stuck because of our inability to make those small decisions.

Because as musicians today, we literally have endless options. 

We could go on tour. We could stay at home and produce other artists. We could get into sync licensing. We could focus on performing live. Or we could do a combo of these things.

Then within those options, there are more options. And within those, even more.

For example, as a music producer, I could add any number of instruments, elements, and melodies to a song. But I have to make decisions at some point. I have to say no to some things. I have to choose what is best for the song.

And in the same way, you have to choose what’s best for you, what’s best for your music career.

Here’s what I’m getting at…

It’s all about the music. 

Now, I know that’s a cliche answer. That’s a phrase you hear many bands and musicians utter as they fail to reach their goals.

But truly, the reason we continue to make music is for the feeling music gives us.

And that’s what I mean by “it’s all about the music” – those feelings that only music can make rise to the surface.

When it comes to what type of music to make, writing songs, performing songs, and even making career decisions, listen to your intuition.

We don’t give enough credit to our gut feeling. But your instinct is part of you just as much as your intellect is.

When you’re deciding what direction to take a song, you have to ask yourself, “How does this make me feel?”

When you’re deciding how to perform a song live, you have to think if you’d enjoy it or not.

Even when you’re deciding which direction to take your music career, you must listen to your gut.

This will help you stay out of business deals you’re not fully into. Your intuition will help you stay on the career path you actually want.

As Derek Sivers says, it’s either “hell yes!” or “no.”

Because the most important thing is what music gives us. It’s how the music makes you and others feel.

Music has power over us. It can literally change what emotion we’re feeling at any given moment. And you, as a musician, wield this power over yourself and others.

Wield it wisely and for good.

Because when you’re in your last days, it’s more likely you’ll be thinking about the impact your music had on people rather than how you could’ve had a stronger “brand,” or whatever. You’ll be thinking about what music meant to your overall fulfillment in life, not how much money it made you.

You’ll smile and think, “I did have fun, didn’t I?”

Being a musician is all about the music and how it makes us feel. That’s the most important thing.

As I write this, Casey Neistat has 12.5 million subscribers on YouTube, over 3.1 billion total views, and 1,000 videos uploaded. Pretty much everyone in the YouTube world knows his name. He hustled like crazy, posted a ton of content, and grew his now-huge following. And he said it almost ruined his life. So here’s what indie musicians can learn from Neistat.

Consistency Is Key

Neistat got a lot of attention by posting daily vlogs. He started in March 2015 and posted every day for 800 days in a row.

What’s crazy is, during the daily vlogs, he was also building a company that he eventually sold to CNN for $25 million.

And now look at him. He can pretty much retire off of that sale plus his YouTube ad revenue.

One of the keys to his success is his consistency. He stuck with it. He regularly created, edited, and posted videos. He never quit building his business.

And he’s still going, posting videos regularly (but not as frequently).

As indie musicians, we need to learn from this. Those who don’t quit will reach their goals.

Burnout Is Real

How did Neistat build a multi-million dollar company while also posting daily vlogs? He had a “crazy person” schedule, self-admittedly.

In the above video, he shares what his daily schedule was like during the daily vlogs. He worked 10 hours a day and slept 4 hours a night.

“This is, like, a pretty grueling schedule,” he says.

And it almost ruined his life.

“To me, burnout was something that happened to weak people,” he told Philip DeFranco.

But he said he eventually became “as burned out as anyone could ever be.” He said he was “angry all the time,” he hadn’t socialized, he hadn’t talked to his wife, and he hadn’t been present.

“All I was thinking about all the time was my work, 24/7,” he said. “…800 episodes into the vlog, it had destroyed me.”

I think the lesson here is obvious.

While it’s important to work hard and smart toward your goals, burnout is real. It can happen to anyone, especially indie artists pursuing a career in music. You’re probably a one-person team, so you have a lot on your plate.

But please, learn from Neistat: you will destroy yourself if you’re not careful. And years of your life could pass you by.

So set up a schedule that allows you to make progress but still allows you to sleep a full 7-8 hours a night, have friends, and be present with your loved ones.

Your Catalog Will Carry You

As of this writing, Neistat has uploaded 1,000 YouTube videos. That means the average view count on a video is over 3 million.

Having such a deep well of content means people have more of his videos to consume. If they love the first video they see, they’re more likely to keep watching.

Whereas, if he only had 100 videos at this point, each video would have to average 31 million views to have the 3.1 billion views he currently has.

Let’s apply this to people streaming your music…

The more songs you release, the less work each song has to do in order to reach your overall streaming goals.

If you have just one song out, that ain’t going to cut it. But if you have 100 songs out, each song won’t need to get as many streams for you to reach your goals.

Continue to release music. Build your catalog. It is the thing that will carry your music career.

Longevity Leads To Success

Neistat started his YouTube channel in 2010. That’s 13 years ago!

He didn’t start his daily vlogs until 2015. He didn’t sell his multi-million dollar company until 2018. And he had been a filmmaker long before he started YouTube.

My point is, longevity is a key factor in reaching your goals as a musician.

Those who don’t quit end up winning – winning as in reaching the music career they want.

Neistat kept at it. And now he’s a millionaire who probably doesn’t need to work ever again.

Will you be a millionaire musician? Probably not. But you get the picture.

Stay consistent, don’t burn out, continue to build your catalog, and do not quit. You’ll get there.

Sped-up songs are a trend right now. People love fast songs so much that Spotify has a playlist devoted solely to “150%” fast songs. Why though? Who knows – trends come and go because something in the zeitgeist bubbles up. But the fact is, listeners want sped-up songs right now. So what does this mean for you, an indie artist?

Why a Sped-Up Song Can Benefit You

The sped-up version of your song acts kind of like a remix. It’s a new take on a song your fans are already familiar with. This is one reason people like live concerts – they can hear slightly different versions of songs they already know and love.

Also, the sped-up version can drive listeners back to the original studio version. It can act as a reminder to current fans to revisit the original. And if someone discovers you through the sped-up version, their curiosity will probably lead them to the original.

Many times, the fast version of a song is more popular with fans than the original recording. For example, the indie artist kurffew has been releasing the “haste” versions of every new song. And his top two most streamed songs are sped-up versions.

Plus, creating a sped-up version of your song is super easy (more on the below). So it’s a simple way to re-engage your fans and hook new listeners.

Which of Your Songs Should You Speed Up?

There are a couple of ways to choose which of your songs to speed up…

You could simply release a sped-up version of your most popular song. It’s the song most of your fans already know, so there’s a bigger target audience for the sped-up version. I did this and, although it has definitely now blown up, current fans have been enjoying it and sharing it on social media.

Another option is to find one of your slower songs, regardless of its streaming performance, and speed it up. Because it’s faster, listeners may enjoy it more. And again, it could drive people to the original version.

How To Speed Up Your Song

Speeding up your song is super easy…

1. Drop the final master of your song into your digital audio workstation (DAW)
2. Increase the Playback Rate to your liking (sped-up songs are usually 25-50% faster)
3. Bounce the track
4. Distribute it using the same song title and list the track version as “Fast,” “Sped Up,” or similar terminology of your choosing
5. Promote the release like you would a new song

And that’s it. It’s fun. Listeners like it. And it’s easy to do. Might as well give it a shot!

Photo credit: Nadine Shaabana

You write the song. You produce and mix (and maybe master) the track. You make the cover art. You distribute the song. You promote the song. And no one listens. If this sounds like you, you’re probably an indie musician. It can be very discouraging. So below I’d like to present five things that will help you continue in your pursuit of music, whatever that looks like for you.

It’s Either “Hell Yeah” or No

This rule has changed the way I operate as a musician. In fact, it’s changed how I look at pretty much every part of my life.

You can apply this mentality to everything – staying in or leaving a relationship, where to eat dinner tonight, deciding on an apartment, choosing what to wear today. If you’re not all-in, then maybe you should be all-out.

If you’re working on a song and you feel anything less than, “Hell yeah! I love this song”…then the song needs more work. Or you need to shelve it.

If you’re offered a gig or shown a contract or asked to do a collaboration and you’re not ecstatic about it, then pass.

“When you say no to most things,” writes Derek Sivers, founder of CD Baby, “you leave room in your life to really throw yourself completely into that rare thing that makes you say ‘HELL YEAH!’”

In his book Essentialism, Greg McKeown talks about the power of saying no to most things so you can prioritize what matters. In other words, making a choice.

“The ability to choose cannot be taken away or even given away,” he writes. “It can only be forgotten.”

Choose to pursue music in this way. Either “hell yeah” or “no.”

You Never Know Who’s Watching

@hiphopcircles Real words from Tyler 🙏 #tylerthecreatoredits #motivationspeech #rapinterview #tylerbaudelaire #cmiygl #callmeifyougetlosttheestatesale ♬ Sad Emotional Piano – DS Productions

Did you know celebrities are real people too? I know, crazy. They also creep on people’s social media profiles like the rest of us.

An artist you admire could end up checking out your page. As Tyler, The Creator says, you never know who’s watching.

“Y’all don’t know how many people’s pages I be on,” he says.

When you’re wondering what the payoff is when no one is listening to the music you put so much effort into, “…You never know what that payoff might mean to someone else,” he says.

Continue to create the best music you know how to. Keep putting it out there. Don’t quit. You really don’t know who may stumble upon your music.

The Water Will Run Brown for a Bit

When you learn a new hobby or skill, you’re going to be bad at it, or you’re at least not good at it. That’s true for everyone. But the more you do it, the better you get at doing it. This is common sense.

So why, as songwriters, do we think we’re going to write a hit song on our first, third, or even 10th time?

“When you flip a dirty tap on, it’s going to flow sh*t water out for a substantial amount of time,” says Ed Sheeran. “And then clean water’s going to start flowing.”

You’re going to write bad songs. You don’t have to show them to anyone, but it’s best to just get them out of your system. You have to make room for the good ones to flow.

Distinguishing Between Hobbies, Jobs, Careers, and a Vocation

Author Elizabeth Gilbert makes a clear distinction between your hobbies, a job, a career, and a vocation.

It’s important to realize these are different things.

Is music your hobby? It’s fine if it is.

Do you want music to be your career? That’s fine too.

Is music maybe your vocation, the thing you must do? That’s great.

Hate having a job? That’s normal.

“Guess who else has had a job?” Gilbert says. “Almost every artist who has ever lived!”

Trust me, this video is very encouraging.

Austin Kleon On How To Keep Going

Austin Kleon is a writer who draws, and he’s written a trilogy of books I highly recommend: Steal Like an Artist, Share Your Work, and Keep Going.

In this talk, he summarizes Keep Going, with tips like “forget the noun, do the verb” and “you are allowed to change your mind.”

“I really think the best way to thrive in your creative life is to pretend like you’re in Groundhog Day,” he says.

In case you don’t know, Groundhog Day is a movie where the main character lives the same day over and over.

And Kleon’s point is simple but powerful: stay consistent. Make a routine of making.

Embed music into the folds of your days and you’ll end up living a musician’s life.

Need Some Regular Encouragement?

This post is an expanded version of an email I send twice a month called 5 Things To Help You Keep Going. If you need some regular, ongoing encouragement as an indie musician (like me), hop on the email list. Aren’t email lists outdated? I don’t know, but 1,800+ other musicians don’t think so.

Photo credit: Kelly Sikkema

Sometimes a track just isn’t gelling. It’s lacking a certain vibe and you don’t know how to elevate it. Next time you run into that scenario, try one of the four music production methods below. These practices have helped me produce songs I’m way happier with.

Layer (Almost) Everything

Layering the elements of a song has drastically improved my productions. It’s so simple, but it makes such a big difference. Layering makes things sound fuller without them being too in your face. For song elements, you can use unison.

So here’s how I layer different instruments in my productions. Try these out in your next track and see how it feels to you…

How I layer vocals:

1. Record the main lead vocal track with no panning
2. Record 2-3 layers of BGVs singing the lead vocal melody (or more layers during the chorus), panned left and right to varying degrees and gain levels lower than the lead vocal track
3. Record 2-3 layers of each harmony part, panned left and right to varying degrees

How I layer acoustic guitar:

1. Record the same guitar part four times
2. Put the four layers of guitar on separate tracks, pan them to varying degrees (example: 15% left, 30% right, 50% left, 70% right)

How I layer drums:

1. Program the drums (or record them live if you have the capability)
2. Add a kick sample and a snare sample on their respective channels that match the kick and snare from the original drums

How I layer bass:

1. Record the bass part
2. Record two layers of the same bassline but played on electric guitar
3. Pan the electric guitars left and right

How I layer piano:

1. Play the piano part on a MIDI controller
2. Duplicate the track then change the sound to something different
3. Pan the two parts left and right

Buss

Bussing is a way to make your life easier and your productions fuller. It may technically be considered a mixing tip, but there’s so much overlap between producing and mixing that I’m going to include it on this list.

Using a bus (or “aux”) channel in your DAW involves sending duplicated audio of a channel to another channel (the bus channel). So when you add an effect to this bus channel, it applies the effect to the duplicate audio.

So you can send several layers of vocals (or whatever) to the bus channel and apply an effect to the bus channel. That will apply the effect to all of the channels you’ve sent to the bus.

Why is this an amazing tool?

Because manually adding an effect to each channel would be time-consuming, and changing the settings for each channel individually would be tedious.

But by bussing, you can adjust the effect for multiple channels from one place (the bus channel).

Less But Better

In Essentialism: The Disciplined Pursuit of Less, Greg McKeown talks about the idea of “less but better,” which is at the heart of essentialism. Focus only on what actually matters and you’ll be able to do it better.

And essentialism applies to producing. Honestly, producing music is mostly about saying no. You have endless options for directions to take a song. So a skilled producer knows how to say no, what to say no to, and what elements to focus on.

Sometimes less really is more. The perfect example of this is Justin Bieber’s “Lonely,” which Bieber wrote and produced with Benny Blanco and FINNEAS. My take on the song is, this is Bieber commiserating with his younger celebrity self, and how he was desperately lonely (and maybe still is).

And the production is literally just electric piano and vocals the whole way through (along with some very subtle synth-y textures). It gives me goosebumps.

Get In Your Feels

One of my artists was recently having trouble deciding on what elements he wanted and didn’t want in his song. So I wrote back to him:

“The overall thing to remember is, how does the song make you feel? That’s your compass, not what you think the listener would want to hear. They don’t know what they want to hear, they just want to feel something when they listen to your song. So you have to make decisions from your feels.”

This has been one of the most helpful reminders for me as an artist/producer. The song has to make me feel something. It’s the way I make production decisions. It’s how I decide what songs I should release and what songs need more work or need to be shelved.

Pay attention to your emotional reaction to the production, and let that guide you.

Image credit: Karsten Bergmann

Producing music for indie artists can be a rewarding way to make an income. And the two ways to do that are 1) remote producing and 2) in-person producing. But which should you pursue? Maybe both? Let’s talk about it…

Remote Producing

Most of my production work is remote. And here’s basically what it looks like: an artist contacts me, we talk about what they need, and I listen to their demo. And if we both feel we’re a good fit, we move forward.

From there, I ask them for a reference track(s) – a song they want theirs to sound similar to – and I get to work. I like to share an early draft to make sure I’m headed in the right direction. Then the artist gives me notes and feedback on what they like, what they don’t like, and anything else they want to add. And then I go back to work.

This usually happens a couple of times before we nail down the final production, at which point they need to be able to record vocals on their own.

This back-and-forth definitely makes the process take longer than if we produced and mixed the song in person. It’s not necessary, but you may want to invest in software that lets you share high-quality, low-latency audio live with the artist. This will allow you to do virtual sessions, both during production and mixing. The most well-known options are Audiomovers and SonoBus.

But don’t get me wrong, there are plenty of great things about producing remotely.

Benefits of remote producing

The biggest benefits of remote production work are 1) you have a bigger network of available artists and 2) you can work from anywhere.

Thanks to the ability to work remotely, I’ve produced songs for artists from all over the world. This allows me to have a steady stream of work (and income).

And because your production sessions don’t involve meeting up with the artist in your studio, you can take your studio wherever you want. Whether you’re traveling or just want to work at a local coffee shop, you can take your laptop and MIDI controller wherever and do some producing.

In-Person Producing

I’ve also worked with a few artists in person. Oftentimes, it ends up being a combination of in-person sessions and communicating over email/text. But the majority of the work gets done when we meet up.

It’s a similar process to remote producing in that I ask for a reference track and the artist’s demo. But then we get to spend a few hours recording the bulk of the song at my home studio setup.

In-person production work is definitely not as common as remote work because you’re limited to just the artists in your area (unless they fly to you or you take a remote setup to them). But working in person with an artist can go faster and be more fun.

Benefits of in-person producing

The biggest benefits of producing artists in person are 1) you can work a lot faster and 2) it can be more inspiring and more fun.

The reason you can get more done in less time is that the artist can tell you in the moment whether or not they like a production element. You don’t have to send what you’ve recorded to the artist, wait for their feedback, and then go back and make more changes. You can just say, “Hey do you like this synth sound?” and they can tell you.

In-person producing, in my experience, tends to be more fun and inspiring. Working with another human in the same room is exciting, especially when you both want to make something you’re proud of.

How To Get Production Clients (Remote and In-Person)

I suggest offering both in-person and remote production services. Why not? You’ll have more chance of getting a steady flow of work. This is what I do, and here’s how I get production clients…

SoundBetter

I get most of my work from SoundBetter. It’s a place that connects producers, engineers, musicians, and songwriters so they can hire each other. It mainly caters to remote producers, but artists from my area have found me on this site by searching “music producers near me,” and we ended up working together in person.

To learn more about setting up your SoundBetter profile, check out this post.

Release original music

In addition to producing other artists, I’m also an artist myself. And because I’m regularly releasing music that I’ve produced and mixed, other artists who like my music have hit me up about producing for them.

Several artists have told me the thing that sealed the deal and prompted them to work with me was my original music. They’ve told me, “You’re doing it for yourself, so I figure you could do it for me.”

This is why, as a producer, you need to release your own music. It will only help you get more production clients.

Create a “music production” page on your website

When artists find you on social media or Spotify, you need to have a page on your website where they can see everything you offer, the work you’ve done, and what other artists have said about working with you. This way, you can send all potential new clients to one place that can answer all their questions.

Here’s mine as an example.

Meet people

If you want to get in-person production clients, you’ve got to get out and meet people. This is how I inadvertently have connected with artists who end up hiring me as their producer.

Here are some places you can meet people in your local music community:

• Open mics (perform or attend)
• Songwriter nights/showcases
• Local artist concerts
• Find musician groups on the Meetup app
• Join local musician Facebook groups and attend their events

Producing music for an artist is an honor and should be treated as such. They are inviting you into their process and asking you to give their song life. Don’t take that for granted. Build real relationships with artists and make art you both are proud of.

“Getting discovered” these days is no longer about getting a record label’s attention. It’s about getting fans’ attention. Music lovers are the “customers,” so to speak. They’re the ones who are streaming your music, sharing your newest song, and buying tickets to your shows. Us artists need to be trying to connect with fans, not labels.

So with that in mind, below are some places where fans can discover your music. I’m sure there are many ways to connect with fans, but these are the places that I’ve had success with (even in small amounts with my small audience).

TikTok

In September 2022, I committed to posting short-form content on a regular basis. And the growth I’ve seen has been so cool to see. Yeah, I’m not great at making content and I still have a small following, but it’s on an upward trend.

As a listener, I’ve discovered tons of indie artists on TikTok. So it makes sense that people find me through my content. As long as each video features one of my songs, whether a live performance or by using the official recording, then every video is a chance to gain even one new fan.

If you want to get into TikTok, check out this post for an intro.

Instagram Reels

Most of my Instagram Reels get 200-300 views, so not very impressive. However, as I write this, one of my Reels has 68,000 views and climbing. I’ve gotten 300+ new followers from that Reel alone. My streaming numbers have jumped up. I get messages from people saying they like my music.

My point is, all you need is one piece of content to pop off and it can change the trajectory of your music career. I’m not an expert marketer, I’m an indie musician out here grinding like you. But it seems like if you post consistently, it’s more likely one of your videos will pop off to some extent.

Here’s how you can get started on Instagram Reels.

YouTube Shorts

Short-form content is driving the music industry right now. Will it always be like that? Who knows, probably not. But right now, YouTube Shorts, Instagram Reels, and TikTok are the places to post about your music.

Ever since I started posting Shorts, I’ve grown my subscribership and connected with music lovers who had never heard of me before. Am I blowing up on Shorts? No way, I’m barely doing that well. But even if one new person finds me, that’s a win.

Here’s how you can get started on YouTube Shorts.

Melo Music

Melo Music is an app that’s like a social media feed for undiscovered indie music. As a listener, you choose your preferred genres, then your feed is tailored to you based on your choices. Each post is a short clip of the song along with the artwork. And artists can connect their profiles to their music on streaming sites and their Instagram so fans can become full-on listeners and fans.

I was an early adapter to this app, and it’s been great for my music. People who never heard of me have found me on the app. And it’s a place I’ve discovered other indie artists, so I know it’s a good place for others to find me.

Spotify Playlists

In 2022, I had a total of 12.1k streams. In the past 28 days, I’ve gotten that same amount of streams. I say that to show you growth is happening for me, and getting on Spotify playlists was a big part of the reason.

Playlists that are carefully curated and followed by real listeners are powerful. Yes, many people listen passively to playlists, but if a song catches their ear, they’ll stop and check out the artists (that’s what I do anyway).

Also, getting on playlists helps trigger the Spotify algorithm. It tells Spotify, “Hey people are adding this song to playlists, you should show it to more listeners through Radio, Discover Weekly, and other algorithmic playlists.”

I’ve had the most success with SubmitHub, but here are some other ways to get on Spotify playlists.

Joint Shows

Do a concert with an artist that makes similar music to you and has a similar size following. Your fans will get to hear about a new artist, and the other artist’s fans will discover you. It’s cross-promotion. And it’s also way more fun than doing a show by yourself.

I put together a house show recently and asked another artist to open for me. Not only did she play a good set, but she also brought people who hadn’t heard of me before. I was able to connect with more people through my music.

You can try to do this at a venue, but you’ll experience fewer barriers to entry if you host your own house show. Host the show at your house or the other artist’s house, then both of you promote it on social media and tell your friends to come through.

Got any other places you’ve had success sharing your music? Don’t gatekeep. Tell us in the comments.

Social media followings. Spotify monthly listeners. Email subscribers. Website visitors. These are all stats that, while important, are not defining. You are not your stats. You should be tracking your stats, but that can very easily lead to obsession.

Why You Need To Track Your Stats

If you’re trying to turn music into your career (or you already have), you have to treat it like a small business. Yes, there’s the artistic aspect of creating. But after you’ve created the thing, it’s time to enter CEO mode.

You need to know what’s working, what’s not working, what you can improve, what you can test. You’ll be operating your business blind if you don’t look at your stats.

Ask any marketing person and they’ll tell you how important statistics are. Pretty much 100% of marketing relies on the numbers to show how to proceed. And because marketing has to be part of your business plan, you have to pay attention to how your songs are performing.

Numbers give you an idea of what songs people like, which then tells you what songs you should focus on promoting. And maybe even what type of songs you could focus on making more of.

As part of the 5×5 Method, I track my stats to plot my overall progress. Here are some numbers I keep tabs on:

• Social media followers (Instagram/TikTok/YouTube/etc.)
• Spotify followers
• Spotify monthly listeners
• Spotify/Apple Music streams
• Email subscribers

These categories may be different for you based on your ideal music career. The point is, track the stats that are important to your goals, then use those numbers to direct your path forward.

Why You Need To Be Cautious of Your Stats

Okay, now let’s talk about why you should be cautious of your statistics.

Simply put, stats don’t equal the quality of your art. I’ve found artists with just 200 monthly listeners on Spotify who’s music is so good. Likewise, I’ve listened to artists with 200,000 monthly listeners and been underwhelmed.

Focusing too much on your numbers can lead to a fictitious mountaintop or an unnecessary valley.

If your numbers are too low (according to your ego), you can start to think lowly of yourself. You can start to believe that your art sucks.

On the other hand, the higher your numbers are, the easier it is to think too highly of your art and lose the drive to improve. Or it may lead to arrogance.

Track your stats. But don’t live or die by them.

The Solution: Trust Your Gut

If you sense yourself paying too much attention to your numbers, go back to the art. Create something. The CEO in your head is too loud. You need to bring the artist back to the table.

Another downside of statistics is their debilitating power over your creativity. You can start to think you have to make a certain type of song. Or you may think you shouldn’t make anything at all because “no one listens.”

The solution is to always trust your gut. Create because it gives you life, not as an attempt to boost your numbers.

“The best work is the work you are excited about,” says Rick Rubin in his book The Creative Act.

You are a complex human being who creates and shares art you’re excited about. You are not your numbers. 

Photo credit 12019 / 10255 images

I grew up playing pickup basketball. And because I was 5’10” / 150 lbs, I was never the tallest or strongest player on the court. So I had to rely on out-playing everyone else. I had to get creative with how to win a game. And I realized I can apply this approach to my music career. Here’s what I mean…

Develop Your “Music Career IQ”

Basketball IQ just means you know how the game works and how to outsmart your opponent. In the same way, you need to develop your Music Career IQ.

A Music Career IQ is another way of saying “work smarter, not harder.” You have to get creative with how you stand out in today’s attention economy. Instead of following the path that every other musician does, you have to find a way that works for you.

I spent 10 years following the “standard” path of an indie musician. Until I realized it wasn’t for me. So I made a plan for myself based on what I wanted to do.

Having a high Music Career IQ also means adapting to the times. Stay up to date with the most effective ways to promote your music. Keep tabs on new tools to help you make more impactful music. Pay attention to new ways to make money and old ways that no longer serve you.

Rely On Hustle

As a smaller pickup baller, I had to rely on hustling. I had to play lockdown defense. I would go after loose balls. I’d get the rock to my teammates when the defenders weren’t looking.

I know I just said to work smarter, not harder. But sometimes you do have to work hard and work more in order to develop your skills and get more ears on your music.

I know “hustle” has been commandeered by finance bros and entrepreneurs, giving it the meaning of “work all the time, you don’t need sleep.”

So I’d like to present another definition of “hustle.” This comes from Hustle by Neil Patel, Patrick Vlaskovits, and Jonas Koffler:

“Decisive movement toward a goal, however indirect, by which the motion itself manufactures luck, surfaces hidden opportunities, and changes our lives with more money, meaning, and momentum.”

Hustle is creating momentum toward the kind of music career you want. And sometimes that means working hard.

Practice a Lot

In Malcolm Gladwell’s book Outliers, he talks about the 10,000-Hour Rule. It states that the key to becoming an expert in your field requires 10,000 hours of practice. Even though this is an oversimplification, it’s a helpful guideline.

Basically, more practice means you’re moving toward becoming an expert. Do you think Michael Jordan became the best basketball player of all time without practice? (And yes, he is the best, the stats speak for themselves).

“Practice isn’t the thing you do once you’re good,” Gladwell writes. “It’s the thing you do that makes you good.”

So what do you want to become an expert in as a musician? Do that thing over and over again.

Find a Good Team

Basketball is a team sport. When I was on the court, I relied on my teammates to hit shots, guard their man, and make good passes.

Look at any musician who has the type of career you want. Have a conversation with them and you’ll realize they had people in their corner. They had a team, so to speak.

My tendency is to stay in my bubble and do everything myself, so I’m actively trying to include other people and collaborate more. It may take time for you to find the right people for your team. But you do need a team.

Collaborating with others causes you to stretch yourself creatively, which can lead to more interesting music. As Rick Rubin says in The Creative Act:

“Each time we cooperate, we’re exposed to different ways of working and problem-solving, which can inform our creative process going forward.”

Stay Consistent

The most celebrated NBA players are those who have consistently been great. Many talented players have their moments of fame, but they’re not that impressive compared to the Jordans and the Lebrons and the Kobes of basketball.

Consistency is maybe the most important characteristic of a successful music career. The musicians who reach the careers they want are the ones who don’t stop.

Award-winning actor Bryan Cranston talks about acting in the same way you should view your music career.

“It’s a relationship,” he says. “It’s not a fling. It is committing to something for the rest of your life. When I think of acting and I think of creating and writing, it occupies all of me. And I love it.”

This, I’m sure, is how the greatest NBA players view basketball. And it’s this love of your art, your craft, that will keep you consistent.

The question is, do you view music this way? Does it occupy all of you? If so, you’ve got a good shot at turning it into your career. 

Photo credit: arash payam

It’s common for me to feel discouraged about my art, my music career, how I’m growing older and less relevant, and how other artists are clearly surpassing me. Sometimes I just want to quit music. And if you’re a sentient being, you can probably relate.

I have a lot of experience feeling down and doubting myself, so I’ve learned some ways to help me get out of that rut. And I want to share them with you.

Feel the Discouragement

Many people, including myself, skip this step. Being aware of your feelings and then actually feeling them is the first step to managing them.

Suppressing emotions is like trying to hold your breath underwater. You will eventually have to resurface and breathe or else you die. So feel the uncomfortable things without judgment. This gives you power over them.

Write About How You Feel

Writing brings clarity. That’s part of why I’m writing this post, to understand myself.

So journal about how you feel. Write a song about your emotions. Type up your thoughts in a Google Doc and don’t show anyone.

However you choose to do it, try writing about your discouragement and how you want to quit music. It could help lighten the weight in your chest.

Use the 5×5 Method

The 5×5 Method is one of the most encouraging practices I’ve done. I only compare myself to myself, not to other artists. Because comparing my art and career progress with other artists is mostly just discouraging.

The 5×5 Method is when you look at where you were 5 years ago, recognize everything you’ve accomplished since then, and think about how excited 5-years-ago you would be to see where you are now.

Next, you think about where you could be 5 years from now based on how far you’ve come in the past 5 years. So for example, if you have 1,000 more followers today than you did 5 years ago, then you can project you’ll have 1,000 more followers in 5 years (but probably more if you stay consistent).

Compare yourself to your past self. Then project where your future self could be.

Give Yourself Less To Do

It’s possible you feel discouraged because you’re trying to do too much at once. I’ve done this and sometimes still do.

But you’ve got to find your focus as a musician. Then ignore everything else. With a clearer and sharper focus, you can give yourself less to do each day. Then you can focus on consistently creating, even if it’s just one thing a day.

Taking small steps is better than trying to run only to fall down.

Take a Break

In 2014, I took a break from music for about a year and a half. I wasn’t really writing songs. I wasn’t recording anything. I thought I might quit the whole idea of making music my career.

Fortunately, I ended up returning to music. But in hindsight, I needed that hiatus. I needed some rest.

Maybe you could use a hiatus from music, just so you can take a breath before returning to the work. It could be a year, a month, a week, a day, or even just an hour. Let yourself step away from the work to catch your breath and collect your thoughts.

Change Direction

I spent 9-10 years going down a path as a musician that wasn’t working that well. Finally, I got it through my thick skull that something had to change. So I readjusted.

Now, artists hire me to produce their songs. I have more monthly listeners on Spotify than I’ve ever had. My songs have been on TV. And I’m making great progress (for me at least).

When I first started my music career, I didn’t expect to be doing what I do now. But music helps pay the bills, and that means I get to spend a large portion of my day making music.

All because I was willing to change direction. And maybe that’s what you need to do.

Ask yourself this question and answer honestly: if you quit music today, would your life feel less fulfilling? If yes, then you will regret quitting.

Image created with DALL-E

You might think you need a storehouse of audio plugins and effects to mix music well. But that couldn’t be more wrong. One of the most common mistakes mixing engineers make is doing too much, using too much processing. A botched mix can ruin a good song. So during the mixing phase, it’s best to keep things as simple as possible while still enhancing the song.

And there are only four plugins you need to start mixing your song: EQ, compression, reverb, and delay. Any good DAW will come preloaded with these.

So in this guide, I’m going to talk about how to mix music as a home producer with these plugins and why they matter.

One general tip: it’s better to do a bunch of subtle moves with these plugins rather than a few drastic changes. A lot of bricks will add up to a house.

Gain Levels and Panning: Your Most Important Tools

80% of mixing involves balancing the gain and panning levels of each element of a song. You can get your mix mostly there with just these two knobs.

In fact, I would suggest trying to mix an entire song with only the gain levels and panning. No plugins at all, just as a practice. You’ll start to understand how to make instruments sit in the mix and not step all over each other.

So don’t touch any plugins until you’ve gotten your mix to sound good with gain and panning. It will make the rest of the process so much easier.

What Is EQ and How Can You Use It?

The point of equalization (EQ) is to be heard yet stay invisible.

When you use EQ the right way, the listener shouldn’t be able to hear that you used EQ but should still reap the benefits of it.

“It’s what you don’t hear that can make or break your final mix,” says Graham Cochrane of The Recording Revolution.

So here are the reasons EQ matters and how you can use it in your mix.

Balance the Tone

EQ is meant to equalize each instrument. It helps you balance the tone of each instrument and balance all the instruments with each other.

Remove Overlapping Frequencies

Sometimes, the more elements you add, the muddier the whole song can sound. This is a common problem.

EQ can help untangle frequencies that overlap with each other (also called “unmasking”). Think of EQ as a shovel you use to scoop out unwanted frequencies. (This is called “subtractive EQ”).

Here’s an example: the bass guitar and kick drum are typically in overlapping frequency ranges. Using EQ as a shovel, you can scoop out some of the frequencies in the bass that are overlapping with the kick, and that allows both instruments to work together better.

Control the Mix

Audio can sometimes be like a wild animal. Frequencies can roar their ugly heads, and it’s the mixing engineer’s job to tame them.

When a bass guitar hits a loud note, ugly frequencies can growl. When a high hat opens up, a harsh frequency can pop out. Sometimes, a vocal can be a bit too muddy.

These things can be controlled with EQ.

How To Use EQ

Alright, now let’s talk about some practical ways to use EQ. There are plenty of very advanced ways you can use EQ, but for this post, I’ll be covering the basic ways.

Step 1: Cut Out Unnecessary Low-end

The first thing I do with most elements in my mix is to remove unneeded low-end. The human ear can perceive frequencies as low as 20 Hz, which means you can cut everything below that with a high-pass/low-cut. This allows the speakers to have a little more energy to push the other frequencies of the mix through.

Depending on the instrument, its context within the mix, and what mix I used, I’ll often cut more low-end than that. I usually find myself cutting 100Hz and below from vocals, acoustic guitars, and most other things. This allows the bass, kick drum, and any other low-end instruments to stand out more.

Step 2: Get Rid of Weird Sounds

If you hear a weird frequency you don’t like, EQ can help you reduce it. I suggest only doing this if you hear it. You don’t need to go looking for a problem frequency if it’s not obvious.

But if and when I do hear an undesirable frequency (which for me is usually a harsh sound in the 2kHz-4kHz range), I use what’s called EQ sweeping.

Here’s how I use EQ sweeping:

1. Solo the track I believe the frequency is coming from
2. Narrow the band you’re working with
3. Launch the band into the sky, as high up as you can go
4. Start slowly sweeping the band left and right
5. Once you find the weird/unpleasant sound is, cut it by 2-5 dBs at that frequency range

Step 3: Boost the Beautiful Sounds

Next, you can start making the pretty sounds sound even prettier. I don’t go crazy with this step. Typically, I use this method for adding air to a vocal by boosting the higher frequencies by 1-3 dBs.

Also, one way to approach this step is by thinking “opposites.”

For example, if an instrument or vocal needs a bit more high-end, a bit more air, try cutting the lower frequencies instead of boosting the high ones.

What Is Compression and How Can You Use It?

Compression basically takes the quietest and loudest parts of your track (called the dynamic range) and brings them closer to “the middle.”

We’ll get into the purposes of compression in a bit, but generally, compression helps make the track louder overall.

One thing to note is that compression should be used sparingly – only when needed.

“…Only use [compression] when you know why you are using it,” Cochrane says. “Otherwise, leave it alone and go back to the fundamental question when mixing: do these tracks sound balanced to me?”

Control Volume

Think about a vocal: it can go from gentle breathiness in the verse to belting emotion in the chorus. After you’ve automated the gain levels, which is when you adjust the volume of the different parts of an instrument, then you can use compression to help further control the dynamic.

Back in the day before compressors, engineers had to manually automate this dynamic range with the volume faders. On every single track. Nowadays, your DAW comes preloaded with a compressor plugin that does this automatically.

Boost the Energy

Bringing up the quiet parts of a track can also boost the energy of the whole mix. Using a slow attack, you can turn up the soft parts and keep the loud parts, leading to a more energetic song. The compressed parts are generally just louder and more upfront, giving the impression of more energy.

How To Use Compression

I try to go easy on the compression, but that can vary depending on the dynamics of a track.

Let’s use vocals as an example. Here’s how I typically compress vocals:

1. Use a 3-6 ms attack, a 100 ms release, and a ratio between 2:1 and 4:1
2. Find the loudest part of the song and loop it while setting the compression
3. Pull down the threshold until the gain reduction averages between 2-7 dB of gain reduction (obviously this can vary depending on the genre, singer, and specific song)
4. Bring the track gain level up until it’s sitting well in the mix

These steps have led to great results, or at least results I’m happy with. But again, it’s very easy to overdo compression, so only use it when you need it.

What Is Reverb and How Can You Use It?

Reverb is an effect that can change the sound of the “room.” Some people call this “echo,” but that’s actually not totally accurate, even though it kind of gives you an idea of what it does.

Room Size

One way to use reverb is to make an instrument or vocal sound like it’s in a bigger room. It can be a nice effect to put on a vocal during the chorus of the song, a snare drum to provide more smack, or an acoustic guitar to make it sound more vibrant.

In other words, reverb can add depth to a track.

Track Cohesiveness

You can also use reverb to help blend tracks together. When you have a few elements that would sound good if they were more “together,” like gang vocals or the different parts of a drum set, reverb can help make all the tracks sound more blended with each other. Like they’re in the same room.

How To Use Reverb

When it comes to reverb (and every plugin on this list), it’s best to make little changes.

One tip is to turn up the reverb until you can hear it really well, then pull it down until it’s at a level that’s just below where you think it should be. That’s typically where it will sound best.

And 90% of the time, I’m bussing my reverb. It gives me more control over the presence of the reverb.

Here’s how you can use reverb:

1. Make a new channel
2. Add your reverb effect to this track (title it something like “REVERB BUS [INSTRUMENT]”)
3. Route any tracks that need the same reverb to this bus channel
4. From the bus track, you can change the amount of reverb that’s applied to each bussed track or to all of them collectively

What Is Delay and How Can You Use It?

Delay repeats the sound you apply it to, like when a cartoon character yells into a cave and their own voice bounces back at them.

When used subtly, delay can help add depth to a track, kind of like reverb does.

It can also make an instrument sound wider by using a stereo or ping-pon delay, or by panning the delay to the opposite side of the instrument (using bussing).

How To Use Delay

Because every delay plugin can be different and each setting can vary, I have to speak generally here. But here are some general tips on how you can use dealy in your mix:

• Go easy on the delay – too much can easily ruin the stereo effect of the track
• Bus your delay effects (like you would your reverb)
• If your song feels dry or empty, use a little delay to help “fill out” the song, giving it depth
• Use a ping-pong delay to transition to a new part of the song
• If you want more delay, try adding a second delay effect instead of turning up the first delay

Use a Reference Track

This is probably the most important tip in this blog post. Using a reference track can drastically improve your mixes.

This is when you listen to a professionally mixed and mastered song through the monitors you’ll be using to mix your track. This way, you know what a well-balanced and appropriately processed mix sounds like. Then you mix your song to sound like the reference track.

For the full walkthrough on using a reference track, check out this guide.

Photo by ProdbyDaan

So you want to produce your own music at home. That’s awesome, join the club. I don’t have the stats on this, but it seems like most indie artists (and even some signed artists) are producing music at home (or in their producer’s home). So to get you started, below is a music production template along with a bunch of helpful production tips.

Before You Start Your Song

Learning music software takes time, so spend lots of time with your chosen digital audio workstation (DAW). Spend as much time as you need on learning and practicing.

When you first start producing music, the tracks will suck. That’s normal. The water from your faucet will flow brown before it eventually runs clear.

This is just a reminder that it’s okay and expected for things to be difficult and crappy at the beginning. But what will keep you going is the passion you have to produce what you hear in your head.

Getting Started (Music Production Template)

Honestly, you can start and produce a song any way you want. Below are guidelines that can help you, but art is subjective so you can break the rules.

I make part of my living by producing artists and I’ve been releasing original music for several years, so I have a decent amount of experience. BUT I am by no means saying this template is the only way to produce a song. As Andrew Huang said in the above video, there are so many ways to produce a song.

This is just one method I use.

With that being said, here is a 10-step template for starting your song…

1. Set the BPM

This needs to happen before you record anything. If you change the BPM after recording, it will distort the instruments.

2. Create a simple beat to keep yourself on time

This can supplement the click track and make it easier to stay on time. I just find it easier to follow than a click by itself. You can remove/mute it later.

3. Record your song front-to-back on your main instrument

This is the backbone of your song. Even if you decide to remove the main instrument later (or remove it during certain sections), you’ll want to have it there so you can start building and structuring the song. Use markers to label Verses, Choruses, Bridges, etc.

4. Record scratch vocals

You’ll record the final vocals later. These rough vocals are just so you know where you are in the song and if any other melodies you add will work with or contradict the lead vocal melody.

5. Start layering in instruments

This is where experimentation comes in. Record the stuff you hear in your head. Just start trying different things on different instruments and see what moves you. My personal rule is that the song I’m producing has to make me feel something and cause some sort of reaction. Smile, dance, get choked up, stank face. It has to move me in some way. If it doesn’t, it needs more work.

6. Use a reference track

Using a reference track is one of the most helpful ways to kickstart your production. Find a song you love, a song you want your track to sound like. Then use it as inspiration as you make production choices. Don’t copy the reference track, just notice which of its elements resonate with you. Then try to incorporate those into your production.

7. Connect the meaning of the song with the emotion of the music

For example, is the song about an anger-filled breakup? Try making the instruments sound gritty and aggressive with distortion, or perform the part to sound angry.

8. Use ebbs and flows

How do you use ebbs and flows? These are ups and downs, aggressiveness and laidback-ness, quieter parts and louder parts. Production is all about contrast. Use fewer instruments in the verses and more in the chorus (or vice versa) to help the chorus stand out.

9. Pay attention to “the drop”

Using contrast in your production helps accentuate “the drop,” which is when your song very obviously reaches the chorus. Maybe the bass and drums finally come in. Or maybe they were in the verse but they drop out during the chorus. Or maybe you go from two layers of vocals to 12 layers. Just make it clear when you’ve reached the most important part of your song.

10. Make sure your song covers a wide range of frequencies

When you’re choosing what instruments to use, remember to include a mix of low instruments, mid-range instruments, and higher sounds. This makes your song sound fuller and more interesting.

How To Transition Between Sections

When transitioning between sections, try removing and/or adding elements in pairs or multiples of pairs. Adding or removing elements makes it clear when you’ve shifted to a new section. For example, going into the chorus, add two layers of electric guitar and/or remove a synth and the beat.

Personally, I love to start with 1-2 layers of the vocal melody, then add several layers of the melody plus a couple of layers of harmony during the chorus.

Another element that helps with transitions is risers. You can either download riser sample packs or make your own. To make your own riser, reverse an element of your production (like a crash, sustained piano chord, or vocal) and make it lead into the chorus. This builds anticipation as the sound increases in volume.

Using a Reference Track

Here’s how you can use a reference track as you produce:

1. Drop 2-3 tracks from your favorite artists into your DAW and listen to what you like about each track (or listen on your favorite streaming platform)
2. Try to listen to every element of the song intentionally
3. Borrow the structure of the reference track for your production (how often changes happen, what elements come and go, using similar transitions/ebbs/flows)
4. Look at the big picture – you’re using a reference track as a guide, not a thing to copy or steal
5. Try outlining your production based on the reference track(s)

23 Music Production Tips

This video has some super helpful music production tips. Here are a handful of my favorites:

• One DAW is not “the best” – choose one and learn it, but also try to learn a bit of each one
• Trust your creative instincts
• Don’t get stuck on the demo
• Do something outside your comfort zone – failure leads to learning
• Stacking elements is the key to a fuller-sounding track
• Mix a piano with a synth sound to make it sound more natural
• Use different voicings of chords
• Bounce your MIDI tracks to WAV once you’ve decided on the parts
• Less is more – fewer elements can make the whole song shine brighter

That’s enough to get you started. Happy producing!

Photo credit: Dan Senior

It’s tough being a musician with a day job, at least the way you want to be. I used to work in customer service and do music on the side – lots of late nights, early mornings, and weekends spent making music.

It might feel like you lack the time, energy, and focus to really get your music career going. But there’s good news: you can make small changes today to better balance music with your day job.

So below are several of those changes. If you implement them, you can shift the trajectory of your career so it’s aiming where you want it to.

Define Your Own Success

What it looks like to be a successful musician with a day job is up to you. Success is subjective. Everyone’s job and life look different.

What do you want to do with music? Will it stay a hobby, or do you want it to be your career? Specifically, what kind of musician do you want to be? These are questions you have to answer honestly.

Defining your success means you need to stop comparing yourself to other musicians. Each of us has been through different life circumstances, we’ve had different musical influences, and we want different things from music and life.

Know what music is to you and what role it will play in your life. This will help you balance your day job with your passion.

Change Your Internal Dialogue

The way you think is important. It can change the way you behave in the world.

For example, which of these two sentences feels better to you?

“I wish I had more opportunities for my music career.”

OR…

“I want to use the resources I have to make the best of my music career.”

To me, the latter option is more exciting. It’s more forward-thinking. And the way you think changes the way you talk which changes the way you act.

So here are some tips for changing the way you think, shifting your internal dialogue to a more music-centric vibe.

Say “no” more

Saying “no” frees you up to say “yes” to the things that matter. If you say “yes” to anything and everything, you’ll become overwhelmed and scatterbrained. And then you won’t have time or energy to go after the really good opportunities.

Derek Sivers, the founder of CD Baby, said it best.

“If you’re not saying ‘HELL YEAH!’ about something, say ‘no’,” he writes. “…When you say no to most things, you leave room in your life to really throw yourself completely into that rare thing that makes you say ‘HELL YEAH!’”

The “hell yeah or no” approach has helped me make decisions not just in regard to music, but in my life in general. So if you’re not totally and completely into the idea of a project or collaboration, feel free to say “no.”

You will feel free if you do.

Say “don’t” instead of “can’t”

I don’t make beats. I don’t make generic pop music for sync libraries. I don’t rap. Technically, I could do all of those things (to varying levels of skill). But I don’t.

Notice I didn’t say “can’t.” Because as a musician, you can try anything you want. When you say “can’t,” it sounds like you’re lacking something.

So instead, try saying “don’t,” even for your own mental health. Saying “don’t” sounds like you’ve made a definitive choice about your music career, because you have. It’s not as if you would do something but, for some reason, you’re not able to. You’ve decided not to do something so you can focus on what you want to do.

Build Habits

Many of us are waiting around for motivation to hit us. Once that arrives, we say, then we’ll start making music. But that’s totally off. What you need is discipline. Discipline is how you form habits. And habits can actually get you somewhere.

Author James Clear has a 5-step process for forming new habits:

1. Start with a small task/habit
2. Gradually improve that habit
3. As you alter your habit, chunk it into pieces (keep it reasonably attainable)
4. When you miss a day, quickly get back on track
5. Be patient

I would highly recommend reading Clear’s book Atomic Habits. It has very specific tips about how to form and keep new habits.

Change Your Definitions

There are some ideas that don’t serve us as musicians. And we should remove them from our thinking and language.

Forget “perfect”

Perfect doesn’t exist. Once you reach what you thought was perfect yesterday, your measure of perfect will have moved. This is the nature of the gap between where you are and where you want to be (see video above).

Author Jon Acuff knocks down the idea of perfectionism in his book Quitter: Closing the Gap Between Your Day Job and Your Dream Job.

“90 percent perfect and shared with the world always changes more lives than 100 percent perfect and stuck in your head,” he writes.

Perfectionism is when you obsess over details until you talk yourself out of making or sharing something. Forget perfect. Shoot for your best.

Ignore “overnight successes”

Look at any “overnight success” and you’ll find years of good work ethic behind it. Building a music career while holding down a day job is hard work, and it will probably take you some time to reach your version of success. Just know this now so you’re not discouraged later.

You may not be the most naturally gifted musician, songwriter, or singer. But you can reach your music goals with consistent effort, even if it’s in little bites. Your music probably won’t blow up right after you pick up an instrument for the first time. And even if it does, you won’t be ready for the attention.

Put in the work one day at a time.

Don’t overwhelm yourself with big steps

The musicians who don’t quit are the ones who will reach their music goals. The key to longevity is baby steps. Becoming a successful musician with a day job takes many, many small steps. It takes many days strung together.

Once you know what your success looks like, once you know what direction you need to go, take small steps forward.

You’re probably not going to go from being a musician with a day job to a full-time career in music in a month. Or even a year. So prepare yourself to be in this thing for the long haul. It will seriously help you avoid burning out.

Create a Plan

I spent 10 years being the type of musician I thought I should be. But there are many ways to pursue music, and it took me a decade to realize that. That’s when I figured out something: I needed a plan.

So I made one. And it has been the most helpful thing for me as an indie musician.

If you want to make a plan, I suggest you start with this post on how to create a plan for your music career (and just generally get your sh*t together). And this post will show you some practical ways to find and pursue your chosen avenues of income.

Photo credit: Daniel Thomas

We learn best in community, which is why forums and comment sections are one of the most underrated tools for learning stuff as an indie musician. Obviously, I think this here website is the best one for recording artists to learn from. But I’m biased. So after you’ve delved into DMN’s helpful content, you can check out the below websites and forums that will help you as a recording artist or producer.

TikTok

One of my personal favorite platforms for music advice these days is TikTok. Yes, it may get banned in the United States, but that’s what a VPN is for.

Super talented and award-winning engineers and producers are sharing their advice and tips for free. What an amazing time to be alive. Below are my favorite TikTokers for music-related content…

Engineering/producing/mixing:

• Greezy Wil (Frank Ocean, Muse, Snoop Dogg)
• Justin Sheriff (Run-DMC, DMX, Lauv)
• Thomas Van Opstal (Lil Nas X, Miley Cyrus, The Chainsmokers)
• Shane Lance
• Phillip Odom

Artist development and music marketing:

• Conan John Avery
• Brynn Marketing
• Burstimo
• Venture Music

Gearspace

I once took a microphone off of a karaoke machine at a thrift store and paid less than $10 for it. Thanks to Gearspace, I realized it was comparable to a Shure SM58.

This website is a place where engineers of all levels gather to talk about gear and software and how to use it. But that’s not all it has.

It features interviews with engineers and producers who have worked with some of the most well-known artists. You can also learn about the best recording gear to check out and even some songwriting tips.

Sound On Sound Forum

Sound On Sound is one of the more respected websites in the recording and engineering world. The blog posts are written by legit audio engineers who know their stuff. And their forum is packed full of helpful info too.

The forum is split into categories, like Recording: Gear & Techniques, Mixing, Mastering & Post-Production, Music Business, and so many other topics.

YouTube

You literally don’t ever have to buy another online course ever again. If you want to learn what they will teach you in music school, you can probably learn it on YouTube.

Here are some of my favorite channels about making music and being an artist:

• Produce Like A Pro (engineering, mixing, producing)
• Andrew Southworth (music marketing)
• Tom DuPree III (music marketing/business)
• The House of Kush (mixing)
• The Recording Revolution (recording and mixing for beginners)
• ClintMusic (sync licensing)
• Andrew Huang (music production, gear, music theory, synths)
• Adam Neely (music theory, music history)
• Podcastage (gear reviews)

Reddit

Reddit is kind of like the wild west, but you can still learn a lot. It’s a great place to read about musicians’ real-world experiences with plugins and gear.

r/musicproduction is about anything related to (you guessed it) producing music, but they also have plugin deals and a Discord server.

r/audioengineering is more focused on the details of what gear and software to use, how to record live instruments, tracking digital sounds, and generally making everything sound as good as possible at the source. There’s also a handy FAQs page.

r/recordingmusic is focused on recording music at home. So you can learn about treating your room for sound, find answers to technical issues, and other basic-level topics. This subreddit is ideal for beginners.

There you go. Now you have no excuses for not knowing something about being a recording artist. All the info is sitting on the internet, waiting for you.

I’m an introvert, so I have to be excited about doing something in order to leave my house. This means that work-at-home music jobs are perfect for me. I sit at home, make or write about music, and earn a consistent income doing it.

If that interests you, this post will introduce you to four ways to make money from music without leaving your house. I work from home full-time, but you can definitely make a side income doing these jobs.

What I Mean By “Music Jobs”

When I say “work-at-home music jobs,” I’m talking about music-related jobs for musicians. So this doesn’t include music business or music marketing positions. Basically, these are jobs you can do thanks to your musical abilities and knowledge.

These are all things I’ve done before or hired other musicians to do, so I can attest to their fair pay. These avenues of income have allowed me to be a work-from-home musician (and writer).

Before You Get Started

You have to know what kind of musician you want to be before you build your career. If you want to be a full-time musician, you can decide on 2-3 income streams to focus on. You want enough income streams that you have some security in case one slows down, but you don’t want too many that you get overwhelmed.

If you want to do something music-related to bring in a little extra cash, maybe just focus on one of the below income streams.

Also, learn how to say no effectively. Most likely, you’re doing music on the side, so saying “no” is a very important skill to develop. You only have so much time in a day, so only accept music jobs you’re excited about. Yes, in the beginning, you don’t have as much leverage to be choosy. But you can still say “no” to jobs that would drain you.

4 Work-at-Home Music Jobs

Okay, now let’s talk about some work-at-home music jobs and how you can get started with each.

Music blogging and/or podcasting

Music advice writing is part of my music-related income (ahem, like this post). But you can offer music advice in other forms, like on a podcast, in a Discord group, or on social media. (Most of the music advice I consume is on TikTok).

Talking about music – whether spoken or in writing – helps you as an indie musician. Through research and sharing of knowledge, you learn things you can take into your music career. On the flip side, your experience as a musician informs your music advice.

So theoretically, you will never run out of advice and suggestions to offer other musicians.

Here are some ideas for making money in the different formats:

• Podcast: build your following to the point where you can work with sponsors
• YouTube channel: once you meet YouTube’s requirements, turn on YouTube monetization (ads)
• Discord or social media: allow people to tip you on Venmo
• Writing: pitch some blog post ideas to websites that offer music advice (just to get your foot in the door)

Music production jobs

Music production is my biggest source of music-related income. I mostly produce artists remotely, but I also offer in-person sessions.

I’ve had the most success through SoundBetter, but I’ve also gotten jobs through Fiverr, AirGigs, and people on social media who hear my original music.

If you’re new to producing music, here’s how you can get started (after you’ve gotten the essential recording gear):

1. Produce a few of your own songs and put them on a playlist that you can share with potential clients
2. Offer to produce 1-5 songs for a fellow artist for free (or for a small percentage of the streaming royalties) and add those songs to your portfolio playlist
3. Eventually, you can start charging $200-300 to produce a song, increasing your rates as you get more experience and improve your skills

Remote session musician work

Since the pandemic, people have learned that a lot of things can be done remotely. And session musician work is one of those things. I’ve hired several session musicians for my songs, and I’ve played guitar on other artists’ tracks.

You don’t have to be an expert engineer, but you do have to have the essential recording equipment and know how to use it.

Here’s how to get started as a remote session musician:

• Create a playlist of songs you’ve performed on
• If you haven’t played on any songs, record some basic tracks to show potential clients what you can do
• Create a profile on SoundBetter and Fiverr
• Contact artists in your circles to let them know you’re offering session musician services

Online music lessons

If you’re really good at your instrument, you can teach others how to play it. And you can get paid decently for it.

My friend used to teach guitar lessons in his home before he got a “real” job. And he was making about $20 per 30-minute lesson. He had several students, too, so he was making some decent money.

Here’s how to start giving music lessons from home:

1. Let the people in your network know you’re offering lessons
2. Post on social media
3. Hang up fliers around town
4. Offer your music lesson services on Fiverr
5. Sign up with a company that will find students for you, like Superprof, TakeLessons, Preply, or Lessonface

I hope you see that it’s totally possible to make money from home as an indie musician. It’s all about finding what works for you.

Photo credit: engin akyurt

I’m not the right person to be writing about this topic. I live with imposter syndrome. He’s my good buddy. But I’m going to write about this anyway. The imposter will not win here because I, despite my self-doubt, have helpful things to say on the topic.

What Is Imposter Syndrome?

Imposter syndrome is when you doubt yourself, when you feel like you’ll be found out as a fraud. It’s when you believe you’re not worthy of the success or competence you do in fact have. You feel like you’re an imposter in your own skin, in your own music career.

Imposter syndrome can be debilitating if you let it take over. It has stopped many artists from creating anything at all. I personally know someone who recorded a whole EP with his band, only to scrap the entire thing because of perfectionism, which is a form of self-doubt.

Why Imposter Syndrome Is Not a Bad Thing

It’s totally normal to feel like you don’t know what you’re doing. And it’s normal to feel like people will think less of you if they find out you don’t know what you’re doing. We all have a little imposter syndrome inside of us, even the most confident people.

“Self-doubt lives in all of us,” writes legendary music producer Rick Rubin in his book The Creative Act. “…Flaws are human, and the attraction of art is the humanity held in it. If we were machinelike, the art wouldn’t resonate. It would be soulless. With life comes pain, insecurity, and fear.”

It’s liberating to realize and admit that you are not perfect. You doubt yourself, and so do I. That’s part of being human.

Imposter syndrome is a reminder that you are a complex human who is not too arrogant that you don’t occasionally doubt yourself.

How To Let Imposter Syndrome Teach You

When you feel imposter syndrome bubble up, there are some practical things you can try that may help…

First, try to recognize and be okay with this feeling of inadequacy. That’s the first step to dealing with it. Let it have space.

Second, challenge your negative thoughts. Uncomfortable feelings are natural, but consciously thinking negatively about yourself can be unhealthy. Try to identify the negative thoughts that are fueling your imposter syndrome and push against them. Look for evidence that contradicts your negative thoughts, and focus on your strengths and achievements.

Third, practice self-compassion. Treat yourself and speak to yourself the way your best friend would. Remind yourself of all the things you’re doing for your music career, not of your (perceived) failures.

Fourth, talk to someone. It can be helpful to talk to someone you trust about your imposter syndrome. A friend, a musician acquaintance, or even your therapist. Sharing your feelings can help you gain perspective and remember that you’re not alone.

Fifth, keep a record of the things you’ve accomplished. Make a list of the goals you’ve reached, positive feedback you’ve gotten, and career milestones you’ve passed.

I have a Google Doc where I list every song I’ve released, any personal streaming records I break, cool co-writes I got to do, you name it. Any good thing that happens goes on my list. Then whenever I’m feeling like I’m not good enough, I revisit that list.

Lastly, let me share another quote from Rubin…

“If you’re not up for it, no one else can do it,” he writes. “Only you can. You’re the only one with your voice.”

No one else has the combination of voice, lyrics, music, and lived experience that you have. No one else can make music like you do. So make the music that only you can.

Photo credit: Possessed Photography

Artificial intelligence can now create music. Yes, the quality of AI music right now kind of sucks, but it will only get better over time and as people use it more. So what does this mean for the future of the music industry? What does it mean for your music career? Let’s explore that question…

What Does AI Music Sound Like?

First, let’s see where the state of AI music is today. There are plenty of websites and pieces of software that use AI to create music. But what does this music sound like? And is it passable as “human”? Well, I’ll just let you listen to the tracks below and you decide for yourself.

Sad singer-songwriter

I used AIVA to create a sad singer-songwriter track. You can listen to it below. As you can hear, the vocals do sound somewhat real but they’re out of tune. The music itself isn’t bad.

Uplifting orchestral

I also created an uplifting orchestral piece with AIVA, which you can listen to below. To be honest, it sounds like a computer made this. Or someone who’s making their first track with a bunch of fake-sounding MIDI instruments.

Energizing Hip-hop

Soundraw is a company that has a bunch of tracks already created by AI, so I’m not sure how much editing was done by a human. But the below hip-hop song isn’t horrible, and I can hear it working as background music for a low-budget commercial or social media video.

LISTEN HERE

Chill/lo-fi hip-hop

Last, we have Boomy, which made the below lo-fi hip-hop track. This track also sounds like a newbie made their first song.

LISTEN HERE

How AI Could Affect Music Producers

As a music producer myself, I’m not scared of the development of AI. I’m excited to see more AI-powered tools that will help us make better music. There are already a bunch of plugins that run on AI, the most well-known being some of iZotope’s plugins. And then we also have AI-powered mastering from companies like LANDR, eMastered, and Aria mastering.

My point is, AI tools will help producers do their jobs better. Here’s the thing: a producer is only as good as their ideas. And artists hire producers because of their ideas as well as the specificity they can have with a fellow human that AI does not offer (yet).

How AI Could Affect Songwriters

We already have AI tools to help songwriters find inspiration and ideas. And there are websites that will write lyrics to an entire song.

In fact, below are lyrics generated from this site with the prompt “I love you”:

– – –

I don’t want you to miss me,

So go away and leave me,

Because you know, I don’t believe you can.

All those good things that you do,

I just want them to stay with me.

I don’t need you,

I just need you to see me,

Wherever you may be,

I just want you to be there.

I don’t want you to say good-bye,

So go away and leave me,

Because you know, I don’t believe you can.

I don’t need you,

I just need you to see me,

Wherever you may be,

I just want you to be there.

– – –

Yeah, not that impressive.

The main thing human songwriters have over AI songwriters is the human experience. A human songwriter has their life story, and they can put that into a song. And knowing the story or inspiration behind a song can make it more powerful for the listener. AI can’t pull from their lived experience because it’s just 1s and 0s.

Could AI write a song that sounds like the human experience? Sure. But that’s the thing, it’s coming from a computer, not a human. You, the human songwriter, add a depth to your songs that only you can through your story.

This is why human stories will become even more powerful than they are now. People feel seen when they hear a well-written song, and they’ll continue to crave that feeling.

How AI Could Affect Sync Licensing

AI is surely already affecting micro licensing, which is when people pay to use tracks in their low-budget projects, like YouTube videos, social media ads, and videos created by a company for internal use. People can go to any number of sites and pay a super small fee to get the background music they need.

This means websites that license artists’ music for pennies may not need those artists anymore. They’ll either create an unlimited amount of AI-powered music or offer a service that allows their customers to generate the music themselves.

However, it’s going to be a while (probably not in my lifetime) before AI starts taking over the bigger licensing deals, like when an artist’s song gets placed on Grey’s Anatomy or in an Apple commercial. Why? Because of what I mentioned above about the human experience.

The songs used in big-budget TV shows and commercials have that human quality. The songs are sung by a human and they tap into a relatable human emotion. And the success of the scene or commercial relies on the viewer feeling that human connection, feeling seen.

How AI Could Affect Performing Musicians

Live music will be the last aspect of music that AI will touch. In fact, I don’t believe it will ever take over the performing industry. Why? Because people crave person-to-person connections. And the best place to get that is through experiencing a human perform their vulnerable songs in the same room as you. AI can’t take this from us.

As AI becomes a bigger part of our lives, authenticity will become even more valuable. We’ll continue to seek out human connection, which means live music will thrive even more than it is now.

Sharing your story and the inspiration behind your songs, whether online or on the stage, will be even more important. AI will never be human and can never truly experience what it’s like to be a living, breathing, bag of water like you and me. So lean into your human experience and share it in your music.

Photo credit: Henrique Felix

Sometimes it can feel like your day job takes away from your music. It takes up all your time. It drains your energy. It gets in the way. I used to work in customer service and this is what it felt like.

But it doesn’t have to be that way. To make things easier on yourself, you need a day job that both provides for you financially and doesn’t totally drain you.

So here are some of the best day jobs for musicians who are building a career…

What To Look For In a Day Job (and What To Avoid)

If you’re thinking about changing day jobs, then there are two things you should look for in your new day job.

A workable schedule and a steady income.

By “workable,” I mean you’re not regularly working overtime, your boss is willing to work with your life circumstances, and the hours allow you to have time for music.

Obviously, this day job needs to provide for your basic needs. There’s nothing that will kill creativity more than being stressed about money.

On top of that, you’ll ideally make enough money to fund your music career. You’ll need money for mixing and/or mastering, distribution, and promotion.

So this means you should avoid jobs that are time-sucking and mentally draining. 

The Best Day Jobs For Musicians

Some of these jobs I’ve done. Some of them my friends have done. And some just sound like really good jobs for part-time musicians.

Freelance Writer

In 2017, I quit my customer service job and went full-time as a writer. This allowed me to have a flexible schedule, work from home, and be able to work on music whenever I felt inspired.

Your best bet is to get into copywriting. Copywriting can pay anywhere between $0.10 and $1 per word, $25 per page, or $50+ per hour.

Here are the basic steps to get into copywriting:

1. Learn the basics of copywriting from books or this course
2. Choose a specialty (marketing emails, social media ads, etc.)
3. Offer your services for free to a few friends and for your own website (even if it’s a mock website)
4. Get your first jobs from places like ProBlogger, BloggingPro, Upwork, and FreelanceWriting.com
5. Do really great work so your clients refer you to others

This day job may take a little time to get into, but the pay-to-time-spent ratio can be fantastic. Plus, you work from anywhere with WiFi on your own schedule.

Music Store Employee

This would be at Guitar Center or your local music store. You would probably be the person helping musicians test out and buy instruments. You’ll need people skills, musical knowledge, and the physical ability to lift heavy objects.

You may make minimum wage starting out, which currently is not very good in the United States. But this can vary based on where you live, and you can make it work depending on your cost of living.

Your best chance is to walk into a music store and ask to speak with a manager about open positions.

Uber or Lyft Driver

One of my musician friends used to be an Uber driver, and it seems like a great job for musicians.

This job can work because you set your own schedule, get paid fairly, and even subtly promote your music by playing it while you give customers rides.

You will need a car that’s new enough and in good condition. And your income doesn’t take into account the wear and tear on your vehicle. But it can still be the ideal day job for musicians.

Private Music Teacher

This is one of those often overlooked music-related jobs that could really work well for a lot of musicians. It can pay very well (usually between $20-$40 per hour), it has flexible working hours (usually in the afternoon/evening), and it allows you to do music for money.

To get started, tell your friends and family you’re giving lessons, hang up posters around your neighborhood/town/city, and post on social media. If you’re good, people will refer you to their friends.

Virtual Assistant

I’ve never been one, but a Virtual Assistant is basically a remote secretary/professional assistant.

So you’d be a freelancer who offers a slew of services, like:

• Social media management
• Help with someone else’s blog (maintenance, editing, writing)
• Website and graphic design
• Answering emails
• Bookkeeping

VAs can get paid well, so (like copywriting) you can work less than 40 hours a week and make a full-time income.

If you want to consider becoming a VA, I’d suggest you check out this article from a woman who has actually been a VA.

Restaurant Server

Yes, you may have heard horror stories from current and former restaurant workers. But if you can put up with it, this day job can be a good option. You’ll probably make minimum wage, but you can make lots of money in tips if you’re friendly and attentive.

To get started, walk into a restaurant you like and ask to speak with a manager about open server positions. Or, if you know someone who works at a restaurant, try to get a referral.

Your Day Job Is Your Side Hustle

If you’re serious about building your music career, you have to think of your day job as your side hustle and your music as the main thing.

If you want music to stay a hobby, that’s totally fine. This post may not apply to you. But if you want a career in music, you can’t have a backup plan. What you do for money has to either be music or a day job that works around your music goals.

If you’re an indie artist like me, you probably check your Spotify for Artists dashboard an unhealthy amount each day. (It’s a problem, I’m working on it). One feature they have shows you how many people are listening to your music on Spotify in real time.

Well, one day, I noticed that nearly twice the amount of people than normal were listening. So, being a worst-case scenario thinker, I was suspicious. I did some digging and here’s what I found…

What Is a Botted Playlist?

Many times, a “bot” is a software program that someone created to stream a playlist.

“These bots are programmed to control individual Spotify accounts to play the same song(s) or playlist(s) repeatedly on a loop,” writes Venture Music.

But those accounts can involve real people. So a botted playlist can involve a company who incentivizes people to stream a playlist on a loop.

Simply put, a bot’s purpose is to stream for the sake of streaming, not to actually listen to the music.

Why a Botted Playlist Is Bad for Indie Musicians

It may be obvious, but let’s lay out the exact reasons why you’ll want to avoid botted playlists…

It can ruin your Spotify data

Spotify can’t always tell when an account is a bot or not. They can be real accounts by real people, and they can be hidden behind a VPN.

A bot probably ends up streaming a bunch of different kinds of music because that’s what it’s designed to do. This means a bot’s Spotify data is all over the place.

So when a bot streams your music, it confuses the Spotify algorithm, making it more difficult for your music to show up in Spotify algorithmic playlists.

Spotify is a music discovery tool, so it’s important you protect your Spotify data as much as you can.

You get a false sense of success

I know, the streaming numbers look cool on your profile. It feels good as the artist. You might start to feel like you’re “making it” when really you’re not actually gaining new fans and growing your music career.

You’re trying to connect with real people who will support you throughout your career. You need people to go to your shows, share your music with friends, and consistently listen (and enjoy) your music for years to come.

Botting is fraud

If Spotify finds out you’re knowingly using botting services and playlists, they have been known to remove entire albums and ban users. And that could really screw up your Spotify growth.

What It Looks Like When You’re On a Botted Spotify Playlist

This is what it looks like when your music gets added to a botted playlist. A huge spike is streams, all of a sudden for no apparent reason. I didn’t submit my music to this playlist either. If you see this on your Spotify for Artists dashboard, look into it.

How To Get Your Songs Off of a Botted Playlist

When I noticed the spike in listeners and streams, I immediately checked out the guilty playlist. It was a company called Artister.io. I checked out their website and here’s what I found.

In their FAQs, one of the questions is “Does Artister.io use artificial streaming methods, such as bots?”

The answer starts off by saying, “We are not using any Bots or Click Farms to generate artificial streams on Spotify. It’s against the T.O.S, and we want to avoid participating in that kind of business as other Playlist Curators do.”

But then they go on to explain the very definition of bots. The streams are from listeners “who get rewarded by virtual in-system points if they listen to songs through our Apps. They can redeem their points in exchange for gift cards etc.”

The listeners are real people, yes. But they aren’t listening to listen, they’re listening to get rewards. In other words, bots.

Once I saw this, I hopped in Venture Music’s Discord to ask how (and if) I could get my songs off the playlist. And they said to just email the company.

It seems Artister’s business model is:

1. They add your song to their botted playlist
2. You see your song getting a bunch of streams
3. A couple days later, they remove your song from the playlist
4. You notice the drop in streams, so you email Artister and ask them to put your song back on the playlist
5. They reply and say, “Sure! Just pay us $XX.”

So I emailed Artister and they replied with, “Your music will be removed within the next 12 hours.”

They did remove my song from the playlist, but I’m not sure if this will hurt my Spotify data or not. So far, it hasn’t seemed to hurt me. But I know my streaming numbers for that song are inflated. (Fortunately, it still did really well with my fans).

Artister is a scam. And there are so many playlists and companies like this.

How To Avoid Botted Playlists

It’s possible you could submit your music to a Spotify playlist that turns out to be botted. Here’s how to avoid those fake playlists…

Don’t use “guaranteed” pay-to-play services

Nothing in music marketing is certain. So a company cannot guarantee you get X amount of streams if you pay them X dollars.

There may be playlist pitching services that are legit, but there are many that seek to take advantage of indie artists by “guaranteeing” streams. Guaranteeing streams is also against Spotify’s Terms & Conditions.

It’s smart to just avoid playlist pitching services altogether. Do the research and playlist pitching yourself, or enlist some friends to help you.

Research the playlist

If the top 10-15 songs on a playlist are unknown artists (we’re talking barely any monthly listeners), then be suspicious.

If the account that runs the playlist has several other playlists with a similar number of likes, be suspicious.

If an account requires you to follow them and like the playlist before you submit, you should be suspicious, according to Venture Music.

I’ve gotten added to playlists through sites that have submission gates like this, but I always check out the playlist before I submit. I’m looking to make sure my song actually fits with the other songs and artists on the playlist. And I’m looking to see if there’s anything sketchy about the account or its other playlists.

Don’t be willy-nilly with your playlist submissions. Do your research. Submit only to relevant playlists.

P.S. – as I was writing this, I got a DM from an account asking me to pay them for guaranteed placement on their playlist (scroll down to see a screenshot).

I said if they already found my song and liked it, they would’ve just added it to a playlist instead of trying to milk me for money.

It felt off, so I said no thanks. When submitting to playlists, trust your gut.

*Update: a previous version of this article stated the Instagram account shown in the screenshot below was affiliated with Sony Music, but that is incorrect. It is not affiliated with Sony Music and doesn’t represent Filtr playlists. The Instagram account in question has been reported to Meta for its unauthorized use of the Filtr playlist art in its profile photo and that image has since been removed.*

Photo credit: Heidi Fin

If you were a 90s kid like me, you probably remember curating playlists before there were playlists. They were called mixtapes, or “burning a CD.” We put our favorite songs in one place so we could just hit play and know that every track would be awesome.

Today’s version of that is Spotify playlists. And as an artist, it’s important that you factor them into your music marketing strategy.

How Much To Invest in Spotify Playlists (Emotionally/Financially)

To figure out how much you should emotionally and financially invest in Spotify playlists, we first have to talk about the Spotify algorithm. (Learn how to get your music on Spotify here).

How does the Spotify algorithm work?

Spotify’s algorithm is all about data. It analyzes how its 433+ million users listen to music. Then it uses all that data to suggest songs to listeners. And it’s gotten very good at suggesting music that listeners will like.

Basically, the algorithm gods want to suggest the right song to the right person, which is why it’s important for you to pay attention to what data you feed them. Who’s your audience? What artists is your music similar to? Do listeners engage with your songs, or mostly skip them?

Spotify wants to only suggest music that will engage the listener, thereby keeping the listener on the platform and an all-around happy customer. So here are some of the metrics Spotify uses to measure the engagement of your songs:

• Minimal skips
• Repeat listens
• High follower-to-listener ratio
• High save-to-stream ratio
• Number of playlist adds
• How often your name appears in the press
• Number of song shares

The higher Spotify ranks your engagement, the more likely it is you’ll get on algorithmic playlists, like Radio, Release Radar, Discover Weekly, Your Daily Mix, and On Repeat.

Should you try to please the Spotify algorithm?

Artists who make multiple kinds of music use different artist names, if they’re smart. You don’t want to confuse the algorithm with an acoustic singer-songwriter song one month and then a lo-fi hip-hop song the next.

I’m not saying you should change your music to please the algorithm, but if your musical style is all over the place, you won’t do as well on Spotify.

“The algorithm IS your audience,” writes Chris Robley of CD Baby. “I mean that in an almost literal sense; not that you create your art to please a machine, but that this machine is the most powerful representation of your fans’ aggregate tastes and listening habits.”

In a way, the algorithm is on your side. It’s trying to get your music to the right people. So if you confuse it, you’re making its job harder.

Again, if you want to make an artistic choice, do what you need to do. I’m all for it. Artistic expression always comes first. But just know, if the music is too different from your previous music, you may not get as much traction on Spotify.

How much to invest in Spotify playlists

Never pay money for “guaranteed” streams on a Spotify playlist. These are most likely bots and definitely not people who are going to be your fans. You’re trying to build a community of real fans here, not just streams.

But what about paying to submit your music for playlist consideration?

This is fine if you have the budget. In this case, the playlisters will accept or reject your song solely on their musical taste and preference, not based on you paying them.

I’ve used playlist-pitching services where you can pay to submit. But I didn’t spend tons of money on it, and I wouldn’t suggest you do either. Yeah, $10 here and there could work. But you probably have other, more valuable things to spend that money on.

Emotionally, I would say don’t base all of your success on getting on playlists, especially Spotify editorial playlists. Editorial playlists are curated by Spotify employees, and they’re notoriously tough to get on. Usually, you need to have already gotten tons of streams to land on one of those.

However, definitely try to get on playlists. Remember, the Spotify algorithm will rank your engagement higher the more playlists your songs are on. Just make sure those playlists are in line with the type of music you make.

How To Find Spotify Playlists

The number of playlists my songs were added to in 2022

Here are a few websites I use to pitch my music for playlist consideration. I’ve gotten on several playlists using all of these methods.

SubmitHub

SubmitHub is a pay-to-submit platform for Spotify playlists, music bloggers, influencers, etc. You can submit for free, but by using Premium (paid) credits, it bumps you to the front of the line so the playlist curator hears your song first. I’ve gotten several press write-ups and playlists inclusions through this platform.

I’ve spent some money on SubmitHub, but I wouldn’t recommend spending a crazy amount of money on it, unless you have the budget. There are free ways to get on playlists.

Groover

I have yet to try Groover, but it works a lot like SubmitHub in that you get a guaranteed listen and feedback. It’s then up to the curator if they want to add your song to one of their playlists. It costs $2 to submit to a curator, and that is split between the curator and Groover.

The @gmail.com method

I used this method to get my songs on a couple playlists. Basically, in the Spotify search bar, type “[your genre/mood] @gmail” and you’ll find a bunch of playlists where the curator has listed their submission email in the description. And it doesn’t have to be just your genre or mood – you can replace it with whatever you think will find playlists that fit your music.

Search hashtags on TikTok and Instagram

Social media is full of playlist curators who love sharing music they’ve discovered. And they use specific hashtags on their TikToks, Reels, and Shorts. So as an artist, you can search these hashtags, find those curators, see if they have any playlists your music would fit on, and then submit your music.

Here are some hashtags you can search on TikTok, Instagram, and YouTube:

• #songrecommendations
• #underratedsongs
• #musicdiscovery
• #songsuggestions
• #songsilike
• #spotifyplaylist

The Most Important Kind of Playlist

The most valuable kind of Spotify playlist your songs can get on are those made by your fans. These are personal playlists that people voluntarily added your music to. They’re not aspiring professional music curators. They’re just music lovers.

It means your song resonated so deeply with them, they just had to add it to their carefully assembled playlist. When you see these playlists show up on your Spotify for Artists dashboard, feel encouraged. You’re doing something right, so keep it up.

Image created with DALL-E

We’re all artists, right? Well, yes. We create art. But maybe we are the actual art. I saw someone online pose this idea, and I think there’s merit to it. So let’s talk about building a music career around your personality, not just your music.

You Are the Art

Technology has developed so far that, today, anyone can make a catchy song or a sick beat. And because of the internet, we’ve realized there are so many really good songwriters, performers, and producers.

So how do you stand out among the masses? One way is to see yourself as the art, more so than the music. You are the creation that fans are interested in.

It’s all about your story and your human experience. People like your music, yes. They listen because they enjoy it. Sometimes music can have a deep emotional impact on people.

But fans stick around because of you. They’re watching your life unfold and watching you live it out through your music.

A guy on TikTok posed this idea that artists are the art, and he used an example of a certain unnamed YouTuber. About 91% of this YouTuber’s fanbase, according to a poll, said they watch the videos because of the YouTuber and if that YouTuber handed the channel over to someone else, those fans would stop watching.

Your creation has more meaning when people know the creator behind it. Your song has more impact when people know who made it and what they’ve gone through. The art is art because the artist is the actual art.

How To Build a Music Career Around Your Personality

You don’t have to be a super energetic, funny, charismatic person. As long as you are yourself, there will be people who resonate with your authentic personality. And you don’t want to put on a persona only for fans to eventually realize that’s not who you are.

So really, there are two big things you can do to share your music and build a music career centered around you and your personality…

Share your story (even when it’s scary)

Human recognizes human. We resonate with authentic stories about the human experience, so you need to share your life story. You don’t have to include every detail, and I wouldn’t recommend you do. Some things are just for you and the closest people in your life.

But sharing your story is especially important if the part of your story you’re sharing is in your songs.

For example, I grew up Evangelical Christian but then watched those beliefs unravel as an adult. Then I released an entire album I wrote during that time and told the backstory. It was scary to be that vulnerable, but I have no regrets. To this day, those songs garnered the most comments, messages, and emails I’ve gotten from any release.

And I’m not saying you should share your story just for the likes and streams. You’re creating art and sharing it in hopes that it will resonate with and help others. But your songs will have more of an impact when you tell the story of how they came to be.

Focus on building community

You’re not so much building a following as you are a community. In other words, a group of people who love your music and care about you because you’ve shared your story.

So reply to every comment, message, and email. Depending on the size of your audience, this can be time-consuming. But it is so worth it.

So often, when I respond to someone’s social media comment, they will like my comment and/or respond to it and then they follow me. People want to be seen, so see them. Pay attention to the people who keep showing up in your comment section, your inbox, and the ones who share your music.

Three Ways To Build Community Around You

There three ways to foster connection and community: an email list, a text message list, and Discord.

Email list

Building an email list is a way for you and your fans to talk directly with each other. And despite what many artists think, having an email list is not outdated. People still engage with emails from artists, according to the music marketing specialists in my comments.

Personally, I use MailerLite, but you can also try MailChimp, ConvertKit, or Klaviyo.

SMS marketing

SMS marketing is when fans give you permission to text them. This can be a cool way to connect with fans, and it feels more personal because it’s texting. I’ve used SimpleTexting which was about $25 a month, but you can also check out ClickSend ($0.02/message) and TextMagic ($0.04/message). If you can find an email marketing platform that also offers SMS marketing, that may work too.

Discord

Discord is a great place to really feel like you’re in a community. Fans can see what other fans are saying about your music and what questions they’re asking. You can create your own server (i.e. group) for free and start promoting it to your fans via email and SMS.

However you go about building a music career, remember: you are a piece of art, so share a piece of yourself.

Charles Bradley (photo credit: www.thecharlesbradley.com)

As a 32-year-old singer-songwriter/artist/producer, this post hits close to home. I’ve been doing music since 2009, and boy, this pursuit of a career in music can feel discouraging sometimes. So honestly, I’m writing this post for me. And if you’re feeling like you’re too old for the music industry, this post is for you too.

What Does “Made It” Mean?

For the sake of this article, “making it” means finding national and/or global recognition. So the below artists were often signed to labels, won Grammys, and reached Billboard success.

But listen, you don’t need to “make it” like these artists did to have a successful music career.

It depends on what type of career you want, but if you can make a living making music, you are successful. That’s really why we pursue a career in music – so we can wake up every day and just do music.

But the message of this post stands: you are not too old for the music industry. Many of these artists found nationwide or worldwide success in their 30s, some in their 50s or 60s.

Keep doing what you love. Keep making music. Keep putting yourself out there. Enjoy the ride. Be persistent and patient.

Behind every breakout story below, the artist put in hours, days, and years of work to develop their skill, talent, and connections. And you can do the same.

Okay, here are 10 musicians who made it after 30 years old…

Bill Withers – 32

After serving 9 years in the Navy, Withers moved to Los Angeles in 1967 to pursue music. His first release was a song called “Three Nights and a Morning,” but it didn’t get much attention. He later reworked this song and called it “Harlem,” which ended up being the first track of his debut album, Just As I Am. This album was his breakout album, and he was 32 years old at the time.

Before this, he had worked as an assembler for IBM and Ford. In fact, after “Ain’t No Sunshine” started to become a hit, he stayed at his day job because he believed the music industry to be too volatile.

Amanda Palmer – 36

Amanda Palmer started out in a band called The Dresden Dolls, releasing her first album with the band in 2003, when she was 27 years old. Her breakout project was raising nearly $1.2 million on Kickstarter in 2012. At the time, it held the record of most funds raised for a musical project on Kickstarter.

Chris Stapleton – 37

Chris Stapleton started as a songwriter for other artists, like George Strait, Kenny Chesney, Ed Sheeran, and Sheryl Crow (another artist on this list). So, obviously, he had a successful songwriting career. But he released his debut album at age 37, and it won several awards.

Sheryl Crow – 32

Fun fact, Sheryl Crow was a school teacher before she made it big. In her 20s, she did alright as a singer, backing up Michael Jackson and Stevie Wonder. Her debut album dropped when she was 31 years old, and the song “All I Wanna Do” was a smash hit.

Leonard Cohen – 50

Leonard Cohen originally pursued a career as a writer, but was unhappy with his progress. So in the 60s, he moved from Canada to the United States to become a folk singer-songwriter. From the beginning, he did alright, joining fellow songwriter Judy Collins at a fundraising event that Jimi Hendrix was performing at. But he didn’t write his biggest song, “Hallelujah,” until he was 50.

Matt Nathanson – 35

Matt Nathanson’s breakout song “Come On Get Higher” was on his eighth release at age 35. He performed it live on TV and it was also used in TV shows.

Rachel Platten – 34

Rachel Platten started pursuing music in the early aughts and had some decent success, reaching the Billboard charts. But it wasn’t until 2014, when she was 33, that she released her huge hit “Fight Song.”

John Ondrasik – 35

John Ondrasik is the lead man and songwriter of Five for Fighting, who had the huge hit “Superman (It’s Not Easy).” Before that, he earned a mathematics degree and worked in the family business. “Superman” came out when he was 35 years old.

Dan Wilson – 37

The song “Closing Time” by Dan Wilson’s band Semisonic was a huge hit. It earned a Grammy nomination, was on the Billboard charts, and has become ingrained in American culture. That song came out when he was 37 years old.

Charles Bradley – 63

Charles Bradley is the ultimate example in the idea that age doesn’t matter. He didn’t start performing music until he was in his 40s as a James Brown impersonator. Through that, someone from Daptone Records discovered and signed him.

PHOTO CREDIT: Andrew Huang

I’ve learned the majority of what I know about recording, producing, and mixing from YouTube. And somehow this information is all free (the internet can be amazing sometimes). So over the years, I’ve become familiar with a bunch of really good music production YouTube channels. These are the best ones I’ve come across and the best ones for music producers.

The House of Kush

Gregory Scott, the man behind The House of Kush, is an artist, audio engineer, and gear designer who shares his mixing knowledge in a no-BS type of way. He focuses more on the philosophy of mixing methods rather than saying something like “always cut this number of dBs at this frequency.”

He talks about exercises to try on your mixes so you understand how your different tools work. And from there, you can make knowledge-based adjustments until things sound the way you want.

Andrew Huang

Andrew Huang is an artist with over 1 million streams on some of his songs, and he’s a very good teacher who passes along information in a way that can help any kind of producer.

He mostly talks about production tips (and he clearly loves a good synthesizer), but he also covers songwriting tips, home recording setup, and music theory. He’s gotten a lot of attention for making music out of non-music objects.

Produce Like A Pro

Warren Huart is an audio engineer who’s worked with Aerosmith, Korn, The Fray, Hot Hot Heat, and many other well-known artists. So you can be confident his advice is reliable.

Huart posts videos that are good for beginners, but he also posts videos that go more in-depth for intermediate to even experienced producers (like the above video). It’s difficult to be really good at something and also be a good teacher who conveys complex ideas in a simple way. But Huart does that well.

LANDR

LANDR is a company that offers many services, like automated mastering, distribution, plugins, samples, and other tools.

The videos are hosted by all types of music producers, songwriters, and audio engineers. So you can get a bunch of different perspectives and philosophies from different kinds of artists.

Charles Cleyn

Charles Cleyn is an artist who shares what he’s learned and experienced as an indie music producer.

He’s very transparent, like in this video about his streaming income, and he’s dedicated to giving clear instructions for beginners, like in the Logic Pro tutorial above. It’s refreshing to learn from someone who is doing the work of songwriting, producing, mixing, mastering, and releasing music on their own.

Wikiemedia

Although it seems Wikiemedia is no longer posting videos, they had previously built up quite the helpful catalog of content on their YouTube channel.

The person behind this channel is someone named Wick Van den Belt. What are his credentials? Does he have any notable accomplishments as a music producer?

I couldn’t find any. However, the tips he gives on his YouTube channel are very helpful, especially for beginners. For example, the video above is a super helpful look at the philosophy of getting a balanced mix.

The Recording Revolution

Graham Cochrane started out recording and mixing his friends’ music, and that was his main entrepreneurial endeavor. But then he realized he could help more people by making videos showing others how to record music on their own from home.

He has some credits on AllMusic, but he’s no longer an active audio engineer. However, the videos he published over the several years he was active are super helpful. They’re geared toward beginner home producers, so he clearly walks you through every step of whatever process he’s teaching.

Help Me Devvon

Devvon Terrell is an indie artist who currently has over 300k monthly listeners on Spotify, and his top played song currently has over 26 million streams, just to give you an idea of his success. And when you listen to his music, you hear right away it’s at the same level of quality as others in his genre.

He’s also a very good teacher for beginners. And he gets very specific with his YouTube video topics, like “How To Get Crystal Clear High End Vocals” and “How To Record In Pro Tools For Beginners.”

Photo credit: Henry Be

As of June 2022, there are over 2.4 million podcasts and nearly 400 million podcast listeners in the world. So for a podcast to rise to the top of its niche, it has to be very good. With that in mind, below are five of the best podcasts for musicians.

The Digital Music News Podcast

I’d be remiss if I didn’t mention the Digital Music News podcast. Hosted by DMN founder, Paul Resnikoff, this podcast shares music news and helpful tips for indie musicians. (Paul didn’t make me include this podcast on the list, there’s just actual helpful information in the episodes).

Each episode, Reskinoff interviews music experts, indie musicians, and even music attorneys. The goal is to educate and encourage musicians by asking probing questions, trying to predict where the industry will go, and telling real-life stories about being a musician.

The NDPNDNT Podcast

The NDPNDNT podcast is one of the most helpful resources for indie musicians. It’s hosted by full-time indie artists Nic D and Connor Price, both of whom currently have over 4 million monthly listeners on Spotify, along with Price’s wife Breanna, who helps Connor and Nic D with administrative work.

They talk about succeeding on TikTok, making money as a musician, promoting your newest release, and much more. It’s cool because they use their own real-world examples and pass on what they’ve learned from doing the work. They also interview fellow indie artists, including Hoodie Allen, Zach Diamond, and Ryan Mack as well as industry experts like Wendy Day.

The New Music Business Podcast

When it comes to the business side of music, Ari Herstand has made himself the go-to source for tons of indies. The New Music Business podcast is his latest iteration of helping his fellow artists.

Ari is known for cutting the crap, getting to the root of an issue, and asking the hard questions. This leads to some transparent answers from his guests, to the benefit of his listeners. Each episode, he interviews indie artists and music industry people, including (but not limited to)…

• Imogen Heap
• Vo Williams (over 1,000 sync placements)
• Music supervisors
• The Director and Head of Creator Brand & Product Marketing at Spotify
• Billboard’s music copyright reporter
• GRAMMY-nominated songwriters and producers

Overall, a podcast with a wealth of information and real-world applications. Definitely a must-listen.

Song Exploder

Just imagine how amazingly helpful it would be to hear directly from an artist you respect on how they made a song you love. You actually don’t have to imagine it, thanks to this podcast.

At this point, if you haven’t heard of Song Exploder, you’ve probably been living off the grid. In each episode, host Hrishikesh Hirway interviews a musician or band who takes apart their song and shares the story of how they made it.

The featured artists are some of the best songwriters, producers, and creative minds in modern music history. I’m talking Billie Eilish, U2, Sheryl Crow, Phoebe Bridgers, Yo-Yo Ma, The Roots, and so many others across pretty much every genre. Literally, just think of your favorite artist and they’ve probably done a Song Exploder episode. There’s even a posthumous episode featuring John Lennon with previously archived audio recordings and interviews.

Hirway also made a Song Exploder Netflix series featuring Alicia Keys, Lin-Manuel Miranda, R.E.M., Ty Dolla $ign, Dua Lipa, Nine Inch Nails, The Killers, and Natalia Lafourcade.

The Working Songwriter

As a songwriter, it can be difficult to know exactly how to make a living and navigate the industry. That’s where The Working Songwriter podcast comes in. As of this writing, host and songwriter Joe Pug has published nearly 200 episodes, almost all of them interviews with acclaimed songwriters.

It’s a conversational podcast where Pug and his guest talk about the craft, the business, and the life of a professional musician. You can hear from Brandon Flowers of The Killers, Bahamas, Matt Nathanson, G. Love, Josh Ritter, GRAMMY-winning songwriter Amy Helm, and so many others.

Photo credit: Alexander Shatov

Even though Instagram Reels seems like a TikTok wannabe, you can’t ignore it as a musician. Why? I’ll show you the very positive impact Reels can have on your music career and growing your fan base.

What Are Instagram Reels?

Instagram Reels are short-form, vertical videos no longer than 90 seconds in length. The Reels feed is designed similarly to the TikTok and YouTube Shorts feeds, and often creators will repost Reels on TikTok and Shorts.

The algorithm feeds videos to users that it thinks they will like based on their previous activity. To watch Reels, users can hit the Reels tab in the bottom-center of the Instagram app.

Why You Should Post Instagram Reels as a Musician

Here are some fun stats to show you the potential impact of Instagram Reels on your music career…

Instagram boasts 1.44 billion users worldwide, and 91% of them watch videos on the platform each week. Reels is Instagram’s fastest growing feature worldwide. Instagram actually has more users than TikTok, and people in India prefer Reels to TikTok. Even though Reels is newer than TikTok and seems like a copycat version of it, people love Reels.

Basically, you can’t ignore Instagram Reels as a musician looking to grow your fan base.

I also have some anecdotal evidence from my own experience posting Reels.

Since I started posting Reels at the end of September 2022, here are the highlights:

• 10% increase in follows
• 2,500% increase in accounts reached (26,700+ accounts)
• 696% increase in accounts engaged
• Most viewed video got 8,000+ views

Compared to a lot of musicians on Instagram, I still have a small following. But the above numbers speak for themselves.

If I consistently post on Instagram Reels, it won’t be long before I have a much larger following. And because each of the Reels I post features my music, it’s more likely this growth will correlate with a growth in streaming stats.

My point is, you are only missing out by not posting on Reels. It couldn’t hurt, so why not give it a shot.

How To Post an Instagram Reel (Walkthrough)

Here are the steps to post an Instagram Reel:

1. In the Instagram app, hit the + icon at the top
2. At the bottom, scroll over to “REEL”
3. You can record a Reel in the app, hit “Next,” then add elements to the Reel, like text and audio
4. Alternatively, you can upload a pre-recorded video by hitting the + icon at the bottom left
5. Add a caption and hashtags
6. Choose whether or not you want to also share the video with your followers on your feed, then hit “Share”

What Type of Content Works on Instagram Reels?

The type of Reels that work for someone else may not work for you. Regardless, the content you post on Reels can also be the same content you post on TikTok and YouTube Shorts. You can recycle content and it can do well on all the short-form content platforms.

To learn how to make short-form content that works on multiple platforms, check out this walkthrough.

Photo created with DALL-E

We all know, you need cover art with each release. But for indie musicians, this is often one of the more difficult parts of releasing music. We’re all about the music and we’re usually not visual artists. But in today’s world, if you want to turn music into your career, you are also often the cover art designer. So here are some tips and tools on how to make a cool album cover or single artwork easily and for free…

Is an Album Cover Really That Important?

Whether it’s an album, an EP, or a single, the artwork associated with your music is important. Granted, if the music is great, the artwork isn’t going to be a deal-breaker.

But think of your favorite albums or songs. You can immediately picture the cover art, can’t you? The artwork you pair with your song(s) could stick in people’s minds, so it’s worth putting effort into it.

Plus, the cover art is art, after all. It’s another way to express yourself in addition to your music. So why not have some fun with it? You can create imagery that’s another interpretation of the music, or you can make it a more literal expression of the music, or something in between.

Best Practices for Creating Cover Art

Because cover art is art, I hesitate to tell you how to create it. So I’m just going to offer a few best practices to follow.

• Don’t use images you don’t have legal permission to use. You can use royalty-free stock photo websites like Unsplash and Pixabay.
• When in doubt, keep the design simple. You don’t want to overwhelm people (unless that approach fits your style of music).
• Listen to your song as you create. This will help you make sure the artwork matches the vibe of the music.
• Get trusted feedback from someone with good design taste. Are you friends with a graphic designer or visual artist? Ask them for their feedback.

Music Distribution Requirements for Cover Art

Music distributors have requirements for your cover art, so it’s good to know these before you start creating the visuals. These requirements may vary slightly among the different distributors, so double-check what your distributor requires.

But generally, these are the rules…

• Minimum dimensions of 3000 x 3000 pixels
• Minimum resolution of 72dpi (300dpi is best)
• PNG or JPEG file format (check with your distributor about which they prefer)
• Cannot be blurry or pixelated
• Text on the covert art (if any) must match the artist name and song/album title exactly
• Do not add text that states a time frame, like the release date or “limited edition”
• Do not add URLs, logos, social media @’s, UPC/ISRC codes, contact info, or anything referencing streaming platforms, digital distributor, or a record label
• Do not include any reference to pricing
• Do not use pornographic or inappropriate images

The Best Platforms for Creating Cover Art

These days, it’s not that difficult to make really cool cover art, thanks to free tools like the ones below…

Canva

Canva is a cloud-based graphic design tool. If you have zero ideas for your cover art, you can start with and edit Canva’s templates. Pretty much every element on these templates are editable, removable, and rotatable. On the other hand, if you have a clear vision for your cover art, you can upload your own files and use Canva as a graphic editor.

Adobe Express

Adobe Express Free is another cloud-based graphic designer, very similar to Canva. They also have some very good, editable templates. Plus, you can upload your own files if you’d like.

Canva and Adobe Express Free are almost identical graphic design tools – the main difference is they offer different designs. So if you’re looking for cover art inspiration, I’d suggest checking both Canva and Adobe Express.

DALL-E

DALL-E is an artificial intelligence engine that creates images based on your specific text prompt. So based on what you tell it to create, it will generate an image in the style you want it to. (I made the main image of this article with DALL-E using the prompt “musician creating unique album artwork”).

And as long as you stay within their content policy, you can use images created with DALL-E commercially, which means you can use it for your cover art and even merch.

I’ve been creating the cover art for my singles with DALL-E and getting really cool results. Check them out here and here.

The Main Thing To Remember When Creating Cover Art

Remember that the cover art for your song or album is art. So use it as an opportunity to express your visual creativity. Stay authentic to your personality and artistic expression. And just have fun with it.

Photo credit: Christian Wiediger

You don’t have to be an amateur filmmaker to succeed on YouTube. Thanks to YouTube Shorts, you can get your music in front of new people every day, and all you need is a smartphone.

What Are YouTube Shorts?

YouTube Shorts is YouTube’s short-form, vertical videos that are no longer than 60 seconds each. On the YouTube app and on the site, there’s a “Shorts” tab where people can start watching and scrolling. Viewers watch Shorts similarly to the way they watch TikToks and Instagram Reels – the algorithm feeds them videos it thinks they’ll like based on their previous activity, not necessarily videos from people they subscribe to.

This is good for musicians because it gets your content (which features your music) in front of total strangers. And that means there’s great potential to grow your fanbase.

Why You Should Post YouTube Shorts as a Musician

Today’s content-drenched internet world favors short-form videos. This may change in the near future, or maybe not. But we know TikToks, Instagram Reels, and YouTube Shorts are what people are consuming right now and, therefore, what creators are focusing on.

But what makes Shorts different from TikToks and Reels?

First, YouTube is already the biggest video platform on the planet and has been for many years. Up until September 2020 when Shorts launched, YouTube was mainly for longer videos. But YouTube now has both short-form content and longer videos, so it offers more than TikTok and Reels.

Similar to TikTok, Shorts gives you access to a library of music you can legally use in your videos. This means, as a musician, you can distribute your music to YouTube through your digital distributor then easily add it to your Shorts.

Also, a lot of people use YouTube as their main music streaming platform, so you need to be where the people are. Or else you could be missing out on connecting with new fans.

As of June 2022, YouTube said it has more than 1.5 billion monthly logged-in Shorts viewers. And as of April 2022, YouTube boasted 30 billion daily views.

So why wouldn’t you be posting YouTube Shorts?

On top of all this, I have a bit of anecdotal evidence. I started posting Shorts promoting my music at the end of September 2022, and can I just say…wow. Already a huge benefit for me as a musician.

I had roughly a 1,000% increase in watch time, subscriber growth, and views.

For context, I was not getting many views before posting shorts and I’m still not getting crazy numbers. But before I started posting Shorts, I was getting 20-60 views per video – now, some of my most recent Shorts have gotten between 1.1k and 2.4k views.

But most importantly, people are discovering my music through these Shorts and leaving comments asking where they can stream the song. So why wouldn’t I keep posting Shorts?

Focus on Likes and Comments, Not Views

I want to highlight something here – YouTube Short views are not the main metric you should use to measure your success on YouTube. Because, as one person says in this video, a Shorts view is not the same as a regular YouTube view.

People are scrolling through tons of videos on Shorts, and watching your Short is simply a first impression. Likes and comments are how you measure the quality of that first impression. Views are simply a good indicator of how many people YouTube showed that video to.

When someone likes or comments on your video, it’s more likely the algorithm will show them your future videos. And the more someone sees you pop up on their feed and engages with your content, the more likely they are to go stream your music.

So pay attention to your likes-to-views and comments-to-views ratio.

How To Post a YouTube Short (Walkthrough)

Posting a YouTube Short is super easy. Here are the steps:

1. Sign into your YouTube account
2. From the dropdown menu in the top-right corner (where your profile picture is), go to YouTube Studio
3. In the top-right corner, click the Create button
4. Upload a video that’s less than 60 seconds (can be square or vertical aspect ratio)
5. In the description, use the hashtag #Shorts (you can also use #Short, #shortvideo, and #shortsvideo)
6. Add other relevant hashtags
7. Publish the video

What Type of Content Works on YouTube Shorts?

The type of short-form content that works for someone else may not work for you. Regardless, the content you post on Shorts can also be the same content you post on TikTok and Instagram Reels. You can recycle content and it can do well on all the short-form content platforms.

To learn how to make short-form content that works on multiple platforms, check out this walkthrough.

Photo credit: Jonas Leupe

Short-form content for music promotion is the thing right now. Lots of artists have gone viral on TikTok, like JVKE, SALES, Lil Nas X, Gayle, and so many others. But there are also tons of artists not going viral who are quickly building a following thanks to short-form content.

And the best way to do this is to recycle content across platforms. You’ll notice the successful content creators do this, and indie musicians need to take notes.

What Platforms To Post On

The platforms that have mastered the short video format are TikTok, Instagram Reels, and YouTube Shorts. They’ve discovered a way to feed your content to strangers as well as provide an enjoyable experience for said strangers (consumers).

So these are the three places to be posting (and recycling) your short-form content. Will this always be the case? Most likely not. How musicians share their music, and the internet in general, changes so much, sometimes rapidly. But for the foreseeable future, sharing short videos on these platforms is the best way to promote your music.

Why You Should Recycle Content for Music Promotion

Instead of making content specific to each of these three platforms, I’d suggest making content that can work on all three. It’s more efficient to make one short video that you can post on Shorts, TikTok, and Reels.

Consumers on all three platforms seem to enjoy the same type of content, and not everyone uses all three platforms. I only have anecdotal evidence for that statement, but logic would tell us that it’s true.

If every person who used one of these three platforms also used the other two, all three platforms would have the same exact number of users, and they don’t. This means that many Instagram Reel users won’t realize your Reels are just yesterday’s TikToks. Just because someone only uses Reels doesn’t mean they should miss out on your great TikTok content.

So recycling your content gives you more reach for less work. You make a good piece of content and use it to reach new fans on three separate platforms instead of just one. Plus, you’re not doing three times the work by making three separate pieces of content.

My Experience on TikTok, Reels, and Shorts

In addition to posting consistently on TikTok this year, I started posting YouTube Shorts and Instagram Reels at the end of September 2022.

And can I just say…wow. Already a huge benefit for me.

For example, on YouTube I’ve had roughly a 1,000% increase in watch time, subscriber growth, and views.

Before posting shorts, I was getting 20-60 views per video. Now, some of my recent Shorts have gotten over 2,000 views.

I have similar numbers with Instagram Reels, going from a few hundreds views per video to between 2k and 8k per video.

And every time I post on TikTok – without fail – I multiple new followers and tons of likes from people who most likely never heard of me before. Plus, people often leave comments saying they love the song and asking where they can stream it.

Yeah, I’m not going viral. My views, likes, and comments are pretty small compared to a lot of other musicians. I still have a small audience. But every short-form video I post is getting my music in front of complete strangers, which is exactly what we all want as indie musicians.

How To Recycle Short-Form Content Across Platforms

Here’s how you can easily recycle content to promote your music on multiple platforms…

Figure Out What Type of Content Works

The best way to figure out the content that works for you is to find inspiration from other creators. Check out musicians who make similar music to you who are also doing well on these platforms. Then let their content give you ideas, or even use the same format but make it your own.

For my genre (singer-songwriter, folk, acoustic guitarists), I noticed the “hook” was often just text on the screen, or the artist saying something, that gives the viewer context for what they’re about to hear/watch.

This format works for both live performances, or if you just have an interesting visual paired with the official audio playing. In whatever case, the lyrics are almost always on the screen as the artist sings them, allowing the viewer to follow along.

For example, here are the hooks I’ve seen working for other artists, regardless of genre:

• “Writing/wrote a song about…”: using text on the screen, explain what your song is about as you play it live or put the song in the video (example)
• POV: give the viewer context for what the song is (or could be) about (example)
• “When you…” or “If you…”: present a hypothetical situation that fits the lyrics of your song (example)
• “Day X of posting my music until it finds my audience” (example)
• Do something fun/interesting/difficult at the beginning to keep viewers engaged (example)
• Skits: this is a bit more involved but can really pay off (example)

Start With TikTok

I would suggest starting with TikTok videos, then posting those videos on Reels and Shorts. Here are some reasons why:

• TikTok has a simple, built-in video editor that lets you easily add a sound (your song) and text on the screen
• The content that works on TikTok usually works on Reels and Shorts
• TikTok is the master of algorithm-focused social media, so most artists who go viral are doing so on TikTok

So here’s what you can do:

1. Create short-form content on TikTok with TikTok users in mind
2. After you post the video, copy the TikTok link and paste it in SnapTik’s video downloader (this removes the TikTok watermark which helps it do better on the other platforms)
3. Download the video from SnapTik
4. Post that video on Reels and Shorts

Video Editing Programs To Try

If the TikTok in-app video editor is not enough for what you need, there are plenty of other options that are equally as easy to use. Here are some video editing programs that are either free or affordable:

• Kapwing
• Lightworks
• Adobe
• OpenShot
• CapCut

Stay Consistent

The key with content creation, music promotion, and really every part of being an indie musician is consistency. Quantity leads to quality. The more you do something, the better you get at it.

So create a schedule for making, editing, and posting content. Find a system that works for you and stick with it. You’re probably not going to go viral after three posts. In fact, you may never go viral.

But with each new piece of short-form content, you’ll get likes, comments, followers, and ultimately lifelong fans of your music who hadn’t heard of you before. 

Asking your fans for money can feel awkward. It’s like, “I can’t seem to make money on my own, so I’m asking you to give me some.” That’s how it feels anyway. Maybe that’s just me. Either way, in this article I want to talk about fan investments, which are different than fan donations.

*What I Mean by “Invest”

When I say “invest,” I don’t mean when a fan is invested in your success, as in they want to see you reach your goals. I mean invest as in, they’re putting their money where their heart is.

I’m talking about when a fan gives you their money and expects something in return. An ROI, if you will. And this ROI, what the fan gets as an investor, is more than just your awesome music – it’s either something exclusive just for investors or an actual return on their money.

So what does it look like when your fans invest in you and your music career?

Benefits of Fan Investments

There are two clear benefits I see with fan investments.

The first is that you get money upfront. Just like a startup who looks for investors, you can raise money to help you make your art.

Making pro-level music can be expensive, unless you do everything yourself, which you totally can do. But if you don’t yet know how to do certain things – like master, mix, or even produce – then you may have to outsource those skills. And that will cost money.

Even if you do everything yourself, you surely have things you could use some extra money on, like upgrading your equipment or getting a new plugin.

The second benefit of fan investments is that your success becomes your fans’ success. When people invest their money in you, they become emotionally invested. They 1) want to see you succeed because they love your music and 2) they want to get a return on the money they spent.

So they become more dedicated to your success. They’ll be more likely to share and stream your music, and they’ll be more likely to become fans for life.

Downsides of Fan Investments

Just like any investment, there are risks and downsides. Here are a couple issues you could run into with fan investments.

The ROI could flop. Let’s say you get a bunch of people to invest their hard-earned moola into your music. But then things don’t pan out the way you planned and your investors lose money. That would suck, and it could leave a bad taste in your fans’ mouths.

In all likelihood, fans won’t be too upset because they love your music and they want to support you, even if they just give you their money. They’re investing in you first and foremost, not necessarily to get rich. However, in this scenario, they did lose money and may not want to invest in the future.

Another possibility is that you don’t get enough investors to begin with. This doesn’t necessarily hurt the people who wanted to invest because you could just give them their money back when you realize you don’t have enough investors.

But it’s kind of embarrassing. It would be disappointing to run an investment campaign only for it to fail.

Ways Fans Can Invest In Your Music

Okay, so let’s say you’ve decided you want to try to get fans to invest in you and your music. Here are a few ways to do that…

Crowdfunding

Crowdfunding is an old form of raising money for a project. But just because it’s old, doesn’t mean it doesn’t work.

Platforms like Kickstarter and Indiegogo have been helping musicians raise money for their EPs, albums, music videos, and concerts for years. And today, artists are still raising thousands of dollars for their projects.

When a fan backs your crowdfunding project, you promise to give them exclusive goodies in exchange. So they invest in you, you give them something in return and you get to complete your project.

Patronage

Patronage is kind of like crowdfunding but fans support you on a regular basis. Every month, your patrons are charged whatever amount they pledged and you get to keep that money (usually after the patronage platform keeps their cut).

In exchange, you give patrons exclusive things, like early access to new music, discounts on merch and tickets, and behind-the-scenes stuff. You can give these special supporters whatever you want.

The biggest platform for patronage is Patreon, but other options include Bandzoogle (which takes 0% commission), Ko-Fi, and Buy Me a Coffee.

Sell your royalties

Some companies will buy or rent your royalties. This means you can get an upfront payout in exchange for diverting the royalties from a certain song to an investor(s). And the deal could be in perpetuity or for a set amount of time.

This allows you to get a lump sum of cash to fund your tour, your album, or a new run of merch. Granted, you will have to be getting plenty of royalties from your song already, so this may only be a good fit for mid- to upper-tier artists.

Royalty Exchange is the leader in this niche industry, so you can learn if this is a good fit for you by reading their FAQs.

Sell shares of your song

A new way for indie artists to make some upfront cash is to sell shares of their song. This doesn’t mean you’d be selling the rights to your songs. It means you’d be allowing fans to invest in your song the same way they would invest in a company.

So let’s say you sell 100 shares of your song for $10 a piece, earning you $1,000 upfront. Now, based on the streaming revenue that song generates, the fans earn money based on the share(s) they bought. Typically, this deal would have a set time frame for the fans to earn their investment back or make a profit.

So you make money upfront, your fans feel good about supporting your career, and they can make a profit as well.

Two companies blazing the trail in this niche area are Fringe and indify.

Allowing your fans to invest in you and your music career makes them feel part of your success, because they are. On top of that, they can make a profit, making it more likely they’ll invest in you again.

Photo credit: KAL VISUALS

This article is for the indie musician who’s trying to turn music into their career. If you’re ready to do both the creative side and the business side of things, this post is for you. So by asking Are music videos worth it for indie artists?, I mean financially and strategically.

The Purpose of a Music Video

The main reason you create any kind of content surrounding your music is to promote your music. And any music video you create is content.

Wendy Day is a well-known name in the hip-hop world for her mentorship and partnerships with indie rap artists. And she had some things to say about music videos in an interview on the NDPNDNT podcast.

“I don’t want to have a great video because I don’t want people watching the video because it’s a great video,” she said. “I want them listening to the song.”

Music videos should not be a mini movie, she said. If you make a music video, it needs to be one that you can easily chop into smaller bites of content for social media. She said a music video is a “turbo boost” for promoting your music.

The Cost of a Music Video

How much does a decent music video cost?

In a Medium article, filmmaker Garrett Wesley Gibbons says a “shoestring budget” for a music video is $2,000 to $5,000, based on what he would charge. This includes everything – one full day of shooting, a small crew, editing, maybe one or two paid actors.

You can obviously shoot a music video for less than this, but it means you’ll do more of the work. If you have a small or nonexistent budget, you (and maybe your bandmates) are probably going to be the script writer, camera operator, director, actor, and editor.

If you can do all of that and you enjoy it, go for it. But most indie artists may not have the skills or desire to do all of that. And that’s why, if you want to make a music video on little to no budget, you have to make sure it will actually be worth it.

Music Videos vs. Short-Form Content

Right now, short-form content has way more ROI than a full produced music video for indie artists who are growing their fanbase.

You can shoot content on your phone, edit it yourself using a service like Kapwing, and get your music in front of tons of new people on social media. And all of this costs you nothing.

And remember, the point of a music video (or any kind of content) is to promote your music. So if you can make content that costs you nothing but gets your songs in front of strangers, why wouldn’t you focus on that rather than a full-fledged music video?

Should Indie Musicians Make Music Videos?

“Should” here depends on your music career goals and your artistic endeavors. If you want to make a music video to scratch a creative itch and you have the budget, go for it. But if you’re trying to grow your fanbase, focus on making short-form content for social media.

And the content doesn’t have to be super fancy. Burstimo, a music marketing agency, says that “a music video of you just performing live is perfectly fine.”

“If you have more than 100,000,000 streams, then absolutely [a music video] is worth it,” they say. “But I wouldn’t go spending huge amounts of money.”

Whenever you’re wondering if you should focus on a certain music marketing method, like music videos, ask yourself: how many artists have I discovered from this method?

For example, nowadays I discover artists on TikTok and Spotify playlists. So as an artist, that’s where I’m putting my marketing efforts.

So are music videos worth it for indie musicians? If you have the budget and you want to express your creativity – sure. To grow your fanbase – no music videos, just focus on simpler, more affordable content that promotes your music. 

Most indie artists are recording music from their bedrooms. It’s amazing we have that opportunity, but it also requires knowing more about how to properly record. And the quality of the vocals is one of the things that can make or break a track. So here’s the basic process for how to record vocals at home…

Equipment and Room Treatment

You don’t actually need super expensive equipment and a professional vocal booth to record great sounding vocals. Yes, that would be ideal. But you can also work with what you have.

Choosing Your Microphone

For recording vocals, you usually want a condenser microphone. These are sensitive mics that pick up a lot of detail, which is what you want in the studio.

If you’re looking for affordable dynamic mics that work well in a home studio, try the Audio-Technica AT2035 or the Rode NT1-A. Both are praised by many professional engineers.

Along with a mic, you’ll obviously need a mic stand. But you’ll also want to get a pop filter. This is a mesh filter that goes between the mic and your mouth to cut down on plosives (harsh sounds like P and T).

How To Treat Your Room

The general rule is to make your vocal recording space sound as dead as possible. That way, you limit the reverberations the mic picks up, which you cannot remove in post. This allows you to better control the sound during the mixing stage using reverb, which emulates the room sound of your choice.

Ideally, you’d have the money to invest in professional-grade acoustic panels, bass traps, and sound diffusers. But most of us don’t have that kind of budget. Honestly, you can do well with thick blankets, pillows, and even a mattress leaned against the wall. Anything to cut down on the reverb.

I often record vocals in my walk-in closet. My clothes work as absorption, I hang up a thick blanket, and I put pillows in the corners.

Use Headphones

When recording vocals, you have to use headphones. If you use speakers, the sound will bleed into the mic. I use the Sennheiser HD280 Pros, but any closed-back headphones will do the trick.

Avoid Over-processing While Recording

It’s best to process the vocals after recording. Because if you add processing on the way in, which would require a preamp or other outboard gear, you cannot take those effects out of the recording. It’s best to record a raw vocal, then adjust afterward.

How To Set Up the Microphone

Once you’ve got your vocal space set up and treated as best you can, here’s how to set up the mic…

Mic → Pop Filter → Mouth

After you’ve got your mic on a stand, attach a pop filter. This is a mesh screen that goes between your mouth and the mic. It reduces plosives, which are sounds caused by air shooting out of your mouth, usually from P, T, F, and B sounds.

I usually place the pop filter about 2-3 inches away from the mic, then keep my mouth about 2-3 inches away from the pop filter (depending on the sensitivity of your mic).

The Proximity Effect

The closer you get to the mic, the more you’ll hear the low-midrange and bass of the vocal. So if you want a bassier vocal, move closer. If you want a thinner vocal, move further away.

The main thing to pay attention to is consistency. Don’t be moving all around as you record vocals. The sound of the vocal will change and it will be noticeable.

Tips for When You’re Recording

Okay, now you’re ready to start recording vocals. Here are a few very important tips…

Check for Clipping at the Loudest Note

Before you record vocals, sing the loudest part of the song into the mic while keeping an eye on the mic channel on your interface. If it goes into the orange or red (called “clipping”), turn down the gain on the interface. Because if you record a vocal that clips, you cannot remove that artifact. It’s better to record a quieter vocal and boost it in post than to record a vocal that clips.

Don’t Move Around Too Much

Like I mentioned above, the proximity effect can work to your advantage. You just have to choose a distance from the mic and stay there. If you move around while recording vocals, it will be noticeable, and you can’t really do anything during editing to fix it. Find your spot, plant your feet, then focus on your singing.

Do One More Take

If you’re debating doing another vocal take, just do it. It’s better to have more takes than you need. It gives you options in the editing stage.

For example, Paul McCartney recorded 32 takes of The Beatles’ “Blackbird.” And the last take was the one that made the final cut.

Comp the Lead Vocal Before Harmonies

It’s tempting to record all of the vocals at one time, the lead and the harmonies. You already have your recording space and mic and gain level set up, so it seems easier to just record the background vocals right then and there.

But just wait. You have to comp the lead vocal first. “Comping” a lead vocal means you go through and choose the best takes for each section and phrase. And the harmonies have to match the lead vocal almost perfectly, so you need to have decided on the final lead vocal beforehand.

The last tip for recording vocals is this: emotion is often more important than hitting every note exactly right. Yes, you have to sing in tune. But sometimes a performance infused with raw emotion is better than a technically perfect performance. 

Photo created with DALL-E

Most indie musicians work a day job (yay, capitalism). And it can be frustrating trying to balance your passion with your paycheck. We don’t talk about it enough. So here are four small but effective steps you can take this week to grow your music career while you work a day job.

Step 1: Create a Plan for Your Music Career

Time needed: 1+ hour

Setting your direction is the foundation of your music career. Otherwise, you may very well step out into the endless options offered by the music industry and get overwhelmed. Creating a plan is about saying “no” to most endeavors and saying “yes” to only a few.

Here are the basic steps to making a plan for your music career:

1. Decide what your ideal music career looks like
2. Find income streams based on your ideal career
3. Set goals that keep you focused on those income streams
4. Brainstorm several things you can do on any given day that will move you forward

And the beautiful thing about having a plan is, it can change. You can try things, make mistakes, find what works, and adjust. But having a plan at least gives you direction. You will at least be moving forward.

Step 2: Make a Music Creation Schedule

Time needed: 30+ minutes

Creating a schedule for your music career is the best way to hold yourself accountable. It’s a way to commit to moving toward what you want.

Here’s how I do it:

1. Find a time each day when I know I’ll be free (can be as little as 15-20 minutes)
2. Create an event in my iCal (ex. “do songwriting,” “record,” etc.)
3. Set an alert for that event

So when I get an alert on my phone to do the thing I said I was going to do, I have no excuses. I’ve already made sure that I’m free during this window of time. Nothing is holding me back other than just getting started.

Step 3: Create a Marketing Strategy

Time needed: 1+ hour

I know, you may not like the idea of becoming a marketing person. That’s probably because sleazy marketers have given the whole industry a bad name. But think of it this way: you’re simply sharing the music you made in a creative way.

And if you want a career in music, you have to do marketing. There’s just no way around it. So set up a strategy for creatively sharing your music.

Here are some steps to get you started:

1. Release the song before you promote it (and not until then)
2. Use a site like Musicroamer to find indie artists with similar music to yours
3. See what marketing content those indie artists are making and what’s working
4. Use the same marketing methods they use but make them your own
5. Create a repeating event in your calendar to market your music

For example, I’m focusing on TikTok to promote my music. Before I started, I looked at 2-3 artists with similar music who were doing well on TikTok. I looked for their best performing videos and analyzed what made them unique. Then I created a Google Doc and noted down TikTok video formats that I could use for my different songs.

Am I going viral? Heck, no. But every single time I post a video, people who didn’t know I existed like and comment on my videos, asking where they can stream the song. And I get multiple new followers with each video. The key is to find a marketing strategy that works for you and stay consistent with it.

Step 4 and Beyond: Do One Thing Each Day

Time needed: 30+ minutes a day

Now that you’ve found your direction forward, you’ve set aside time to create and market your music, and you’ve put those tasks in your calendar, it’s time to do stuff.

Based on the creation and marketing plans you made, pick at least one thing you can do each day. Put that task in your calendar, and try to do one thing a day for a month. You’ll see that it doesn’t actually take that much of your free time to make progress toward the music career you want.

The key is not volume, but consistency. Make a plan. Adjust as needed. But whatever you do, do a little bit every day and keep going. 

Photo generated by DALL-E

Mastering music is the final stage before you release your songs to the world. You need to master every song you release – it improves the sound quality and increases the loudness to the level of other songs coming out these days. I’ve used both automated mastering and a mastering engineer, so here’s my take on which one is better for indie musicians…

What Is Automated Mastering?

First, let’s define “mastering music.” Mastering is when you take a mixed track (the bounced WAV file) and bring out certain parts of its sound with EQ, compression, and other effects. Mastering also increases the overall loudness and generally makes it sound good no matter the sound source. Traditionally, a mastering engineer does this process.

Automated mastering is a fairly new technology, and it was popularized by LANDR. Automated mastering is artificial intelligence that masters your song in a matter of minutes. It’s able to listen to your track, pick out the sonic elements, and attempt to do what a mastering engineer does.

This is all based on some settings you choose, like mastering intensity, compressor intensity, EQ preferences, stereo width, volume, and even mastering style (ex. warm, balanced, or open). Some services even let you upload a reference track so the AI can try to master your song similarly.

The Benefits of Automated Mastering

Although there are doubters, automated mastering is good in a lot of ways. Here are a few…

Affordable

Automated mastering has been a godsend for indie musicians on a tight budget. Instead of paying a mastering engineer anywhere from $50-150 to master one track, you can master an unlimited number of tracks for under $50 a month. Note: these services will continue to charge a monthly fee if you don’t cancel.

Easy

Regardless of the mastering platform you use, the steps are pretty much the same. Upload your fully mixed track, set your mastering preferences, hit a button, then the AI technology spits out a mastered track comparable to other songs in its genre. It literally couldn’t be easier.

Quick

Most automated mastering services will master your song within minutes, as opposed to the multiple days it would take for a mastering engineer to get around to mastering your track. This means you can quickly get your track to professional mastering standards and distribute it ASAP.

The Benefits of Hiring a Mastering Engineer

Here are the main benefits of going the traditional route of hiring a human to master your music…

Higher quality

To a lot of professional engineers, automated mastering delivers results that don’t quite match what a good mastering engineer can do. An experienced human engineer can hear things that AI may not be able to, meaning you’ll have a better chance at getting higher quality masters from a human. An engineer can make decisions based on your specific track. AI works more generally.

An engineer can point out mix corrections

One of the main reasons I hire a mastering engineer with every song I mix is to get a fresh pair of ears on it. The engineer is listening on high-end studio equipment and they ideally have plenty of experience with what sounds “good.” So if you can find an engineer who’s willing to ask for mix revisions before they master your song, hire them. Your song will come out so much better.

Get more customized masters

With automated mastering, you can choose your mastering preferences and even ask the AI to use a reference track of your choosing. But you can’t ask for as much customization as you can with a human engineer, especially if the engineer offers revisions.

When Mastering Music, Which Option Is Better?

Based on research and my own experience, here’s my take: if you can afford it, hire a mastering engineer. If you’re on a tight budget, automated mastering is a solid alternative. 

If you hire a mastering engineer, make sure you check out their other work beforehand and read any available reviews from past clients. They need to be very good, easy to work with, and have experience mastering your type of music.

And if you use automated mastering, make sure you get someone else to listen to your mix and the final master, someone who has good ears and will be honest with you. Also, you need to use a reference track. Compare your track to a professionally mastered song in your genre to make sure the AI brought out enough of the clarity and stereo width and made it loud enough.

Where To Find a Mastering Engineer

I highly recommend SoundBetter. I use it as a producer, and I’ve hired session musicians through it. There are a ton of very experienced mastering engineers on the platform. You can read verified client reviews. And you can find an engineer in your budget. (SoundBetter isn’t paying me anything, I’ve just had a really good experience).

The Top Automated Mastering Services

The top three automated mastering services today are LANDR, eMastered, and Aria Mastering. I’ve used the first two and gotten decent results. The latter came at the recommendation of an engineer friend – this service uses analog gear and an actual robotic arm to master tracks, meaning it theoretically leads to better results.

Photo credit: Priscilla Du Preez

I’m not going to pretend it’s easy to make a living as a songwriter. But it is definitely possible. In today’s world, you’ll need to be many different things – not just a songwriter, but also an artist, producer, performer, and music marketer. But for this post, we’ll just cover how you can make money as a songwriter.

How Songwriters Make Money

Songwriters, whether or not they’re also artists, can make money in a few different ways: performance royalties, streaming royalties, and publishing deals.

Performance Royalties

Songwriters earn performance royalties whenever their song is played in a public setting, whether as a live performance or a recording. So a performance royalty is generated whenever a song is played:

• Live by you or another performer
• On TV or a video streaming platform (AKA sync licensing)
• Through the speakers at a restaurant, bar, grocery store, clothing store, etc.
• On the radio
• In gyms

And the way songwriters collect performance royalties is through a Performance Rights Organization (PRO). These would be companies like BMI (United States), ASCAP (United States), SOCAN (Canada), and PRS for Music (United Kingdom).

Streaming Royalties

Another way songwriters make money is from streaming royalties. Every time a song is streamed, the songwriter(s), the artist(s), and often the producer(s) are owed a royalty.

So for example, let’s say an artist writes a song with a songwriter. This is a what the rights and royalties breakdown could look like:

• Publishing/mechanical royalties: 100% to the artist (or to the artist’s publisher if they have one)
• Performance royalties: 50% to the songwriter, 50% to the artist
• Streaming royalties: 3% to the producer, 49% to the artist 48% to the songwriter

However, if two indie songwriter-artists write a song together and produce it themselves, they typically just split everything 50/50, and they wouldn’t have to give percentage points to a producer.

So as you can guess, there are a lot of variables that go into who earns what and how much each person would make from a song. But as the songwriter or one of the songwriters, you’re owed a chunk of its overall streaming royalties.

Publishing Deals

Another option for songwriters is to get a publishing deal. This is when a songwriter signs over some or all of the publishing rights to their song(s).

Usually how it works is, a publishing company will sign you to their songwriter’s roster with the understanding that they keep 50% of the publishing rights and you keep 100% of the songwriting rights. In exchange, the company gets you into co-writing sessions with successful songwriters and/or artists with the end goal of getting your song recorded by an artist.

Many times, the company will pay the songwriter an advance, which is basically a loan that the company collects from the (potential) royalties generated by the songwriter’s songs.

Sounds pretty cool, but Grammy-nominated and award-winning songwriter Ester Dean said a publishing deal won’t set you up for life. At least not right away.

“Even [after getting an advance from a publishing company], you definitely need a second job,” she said. “I worked in elderly homes for about seven years before I could pay my rent with songwriting alone, and it took five years after I got a publishing deal before I’d really ‘made it.’”

Can We Determine How Much Songwriters Make IRL?

It’s pretty difficult to say “you can earn X amount of money as a songwriter” because there are so many variables. The best way to find out is to, first, know all of the ways you are owed royalties as a songwriter (like we just talked about). And then, second, record and release your songs under your own name or let another artist release them. This will maximize your overall earnings.

How Indie Songwriters Can Make a Decent Living

So let’s make all of this info practical for you, an indie songwriter (and probably artist). Here are some ways you can start making money from your songs.

Register Your Songs With These Royalty-Collection Organizations

To earn all the royalties owed to you, you need to register your songs with a few different organizations.

First, you need to register every song you write and plan to release (or let another artist release) with a Performance Rights Organization (PRO). I personally use BMI (it’s free to sign up), but ASCAP is the other top option.

Next you’ll want to release (or have another artist release) your song on streaming platforms. You do this through a digital distributor. The best place to start is by learning about the different distributors and what they offer.

It’s also smart to register your songs with a publishing admin company. A publishing admin collects mechanical royalties generated from streams or sales of your music, which are paid by the streaming platforms. They can also collect performance royalties from other countries even if you’re registered with a PRO. I use Songtrust.

Lastly, consider registering your songs with SoundExchange (U.S. only), which collects digital performance royalties (think Pandora and Sirius XM).

Co-write With Others

When you write a song with someone else and it’s released by you and/or another artist, you are owed royalties when someone streams or downloads that song, whether or not you’re the artist on that song. You’re owed streaming revenue, and you and the other songwriter set up the splits through the digital distributor.

You’re also owed any performance royalties the song generates. And if you own part of the sound recording, you can earn mechanical and digital performance royalties too.

If you want to get a publishing deal eventually, you can try to write with songwriters who already have a publishing deal. This is the single best way to get your foot in the door. It usually means you have to move to a music city, like Los Angeles, Nashville, or New York.

Play Live

When you play live, the venue pays you and you’re usually able to have a tip jar, depending on the venue. But on top of that, playing your songs live generates performance royalties. In my experience, playing live has earned me $1-2 in royalties per song. It’s not a ton, but it could be the gas money that gets you from one gig to the next.

Playing live also allows you to become a part of your local music community. Some people may call this “networking,” but that sounds like you’re only there to get something from other people. Instead, think of it like embedding yourself in the community. You help others when you can. And others help you when they can. Opportunities in the music industry are often about who you know, not just what you know.

Get Your Music In TV and Film

If you professionally produce, mix, and master a song you’ve written, you can get that song on TV and get paid for it.

You get paid upfront, which is called a “sync fee,” and that amount can range from a couple hundred dollars to tens of thousands of dollars. It all depends on the type of placement, how prominent your song is in the show, how many seconds of it they use, and the budget for that project. Then on the back end, that TV placement earns you performance royalties, which can vary widely based on the network and the region where the show aired.

So that’s how songwriters make money and how you can too. Just remember, the smartest way forward is by also being an artist, not just a songwriter.

Photo credit: Sara Kurfeß

People have been debating whether streaming platforms should change their method for paying streaming royalties to artists. This is driven by the desire to see fairer streaming payouts for indie artists, and that’s great. But how would switching to a user-centric payment system (UCPS) actually make things better for indie musicians?

What Is a Market Share Payment System?

Currently, most streaming platforms, like Spotify and Apple Music, pay streaming royalties using a market share payment system (MSPS). In basic terms, an MSPS pools together all of the revenue from streaming royalties and pays them out proportionally to the share of total streams a song has gotten.

For example, let’s say in a given period, Spotify tracks 1,000 total streams across all of their artists. And of those 1,000 streams, your songs got 10 streams. So, generally speaking, you would earn 1% of the total pooled revenue for that period. On top of all this, streams from a listener who has a free, ad-supported account pay less than those with a subscription account.

What Is a User-Centric Payment System?

A user-centric payment system (UCPS) is touted as fairer for artists, especially indie artists. It divides a listener’s subscription fee equally among the songs they listen to in a given period. So if a listener streams one song each from 10 different artists, 10% of that listener’s subscription fee (minus the platform’s cut) goes to each artist equally.

On the surface, this does seems fairer. A fan listened to your track, so you should get paid directly for that stream, right? I thought that at first, but things get a little more complicated when you compare the payouts of a MSPS verse the projected payouts of a UCPS.

What Streaming Pays Under the Market Share Payment System

Although you, the artist, don’t technically get paid an exact amount per stream, we’re able to see what the average per-stream rate is based on the data.

According to a dataset of over 1.5 billion annual streams and more than 350 albums, Spotify’s per-stream rate averages $.00348 (about one-third of a penny per stream). But for most artists, this per-stream rate can vary between $.003 and $.005.

So, based on these stats, how much does Spotify pay for 1 million streams? About $3,300 to $3,500. But this can vary based on the region of the streams and whether the listeners are using ad-supported accounts or subscription accounts.

Apple Music, on the other hand, pays artists an average of one penny per stream. That’s three times the amount Spotify pays.

What Streaming Could Pay Under a User-Centric Payment System

So what could you expect your streaming payouts to be under a UCPS?

Well, according to a study using Spotify and Deezer data, a UCPS would significantly reduce the streaming revenue for the top 10 most streamed artists while slightly increasing the streaming revenue of lesser-streamed artists.

According to the study, a UCPS “could promote a redistribution of income for the benefit of artists, titles and genres with the weakest audiences, but, if the percentages of change seem not insignificant, the amounts in value remain in reality limited, as they stand.”

Let’s look at the numbers…

The top 10 most streamed artists could see a 12-17% drop in royalties, equating to “several hundred thousand euros on average.” On the other hand, the top 11-1,000 top streamed artists could see an increase of 0.6-2.2% increase in royalties, equating to several thousand euros.

But most indie artists are not in the top 1,000 artists streamed, so what changes for the rest of us?

The study found that there would most likely be a low impact on the least listened to artists. Beyond the top 10,001 streamed artists, the rest of us could have an increase of 4.6-5.2% in streaming payouts. However, because artists beyond the top 10,001 get streaming numbers much lower than the top streamed artists, the increase in revenue would be, on average, less than €10 per artist.

“Switching to UCPS would therefore have a relative impact on the royalties generated for the least listened to artists,” the report says.

Another not-so-fun projection is that a UCPS could actually have a negative effect on certain genres, like soul, electronica, reggae/reggaeton, trip-hop, hip-hop, rap, R&B, new age, and afrobeat.

Now remember, this study does not include data from Apple Music (which pays $0.01 per stream on average) or any other streaming platform. This is data only from Spotify and Deezer.

Final Word: Should Streaming Platforms Switch to a User-Centric Payment System?

Let’s look at SoundCloud. In April 2021, they started offering a user-centric payment system. And as of June 20, 2022, there are more than 135,000 artists participating in this system, according to SoundCloud’s VP of Strategy, Michael Pelczynski.

He says the benefits of a UCPS helps get rid of bots and, for SoundCloud, pays the participating artists more money than a market share model. SoundCloud also highlights how much more money artists are making on this new model compared to the market share model.

Pelczynski paints the picture that a “devoted” listener who is “obsessed with a handful of artists” should have more valuable streams. He mentioned that SoundCloud saw a 97% increase in listeners contributing more than $5 to an artist via their streams. This means, according to their data, many SoundCloud listeners stream just a handful of artists each month.

On the surface, that sounds promising that maybe UCPS is the way forward for all streaming platforms. But in reality, do most music listeners follow this trend of listening to a handful of artists a lot? Or is that data skewed by SoundCloud listeners who may have signed up in order to support the SoundCloud artists they love?

I’m a super fan of a handful of artists, and I listen to them often. But I also love discovering new artists. I also really enjoy listening to lo-fi hip-hop while I work and turning on a vibe-specific playlist. I love music, so I consume a lot of it from a lot of different artists. And I believe this is common among listeners who pay a subscription fee to get access to pretty much all the music in the world.

Interestingly, Pelczynski says it’s a zero-sum game if every SoundCloud artist joins because the streaming pie would be divided among many more artists. But currently, it’s not a problem because just 135,000+ artists have joined.

Another factor to consider in this discussion is that money is not the only valuable thing to an indie artist. Yes, we need to make money in order to have a music career. But first of all, streaming isn’t the only way to make money as a musician. Secondly, super fans, people who will follow you for your entire career, are invaluable.

And on that note, one cool thing SoundCloud offers, both for Pro artists and those in their UCPS, is the ability for artists to see who is listening to their music. This allows the artist to build a community of fans and connect with them directly. Bandcamp does something similar. Artists can message their followers and those who have purchased their music (note: Bandcamp doesn’t pay per stream).

So maybe the potential slight increase in the per-stream rate under a UCPS coupled with the ability to see and directly connect with listeners would be good for indie artists. For example, if Spotify switches to a UCPS, which they said they may do if there were enough demand for it, they should also allow artists to message their followers directly on Spotify.

So which do you think is better for indie artists: a market share payment system or a user-centric payment system?

Photo credit: Jamakassi

Are albums dead? Are singles the new way to build your music career? The “albums vs. singles” debate is one that’s been going on for a while. So let’s break it down and look at the positives of both albums and singles, and then talk about the best strategy for indie artists: focusing on your eras.

The Pros of Releasing Albums

What is an album? This is an entire debate on its own, so let’s just define it for the purpose of this post. Spotify and Apple Music categorize your release as an album if it’s seven or more tracks and/or at least 30 minutes long. So let’s go with that definition.

Personally, I love listening to albums. Turn the lights out, grab a drink, and listen on my nice studio monitors. It’s like experiencing an aural movie. The thing is, it’s not always a good idea to release an album as an indie musician. But here’s when releasing an album is absolutely a smart move:

• When you want to make a cohesive statement: albums allow you to say something across multiple songs, both sonically and thematically. So don’t release an album of songs that have no relation to each other in those ways.
• When you want to give your fans a body of work to enjoy: if you have a fanbase that will sit and listen to at least 30 minutes of your music, then an album makes sense. This gives your super supporters more of your art to sink their teeth into at one time.
• If you want to develop your sound over time: technically you can do this with singles, but albums with different sounds can be more digestible and less of a whiplash experience for the audience. It can be easier for your fans to follow your sound development through the context of your different albums.

The Pros of Releasing Singles

Standalone singles have become way more popular in recent years. They used to be a precursor to an artist’s upcoming album, a way to hype the album. But today, an artist can go from hobbyist to full-time musician with just one viral song. So we’re seeing a lot more indie artists release only singles.

Here’s when it makes sense to release a single as an indie musician:

• When your budget is limited: indie artists often don’t have a huge budget, so investing in one great song can make more sense than trying to raise a bunch of money to release several songs together.
• When you want to grow your audience: because people have shorter attention spans today, they’re more likely to listen to one song by an artist they’ve never heard of (you) instead of that artist’s whole album. Releasing singles allows you to promote just one song at a time and bring more new fans into the fold.
• To stay in your fans’ ears: we live in a time and attention economy. There are so many directions a person can get pulled, so you want to get a slice of the attention pie. By releasing singles regularly, you can keep your music in your fans’ ears.

Albums vs. Singles: Which One Is Better for Indie Artists?

@ndpndntpodcast

If you’re just starting out, or your priority is growth, we highly recommend consistent singles > albums 📈 #independentartist #musicmarketingtip #singersongwriters #musicbusiness #indieartists

♬ original sound – NDPNDNT PODCAST

Here’s the verdict: singles are good for growing your audience, albums are good after you have an audience that will listen to a body of your work.

If you’ve never released music before, dropping an album is a bad strategy. On the other hand, if you have a bigger audience that’s eager for your new music, singles alone may not satisfy them.

Most likely, you’re in the growth phase of your career (as most of us are), so it makes more sense to release a single, promote that song, then repeat the process.

Years ago when I started releasing music, I did things the old way. I released an album, played some shows, posted my music on social media, and then did it all over again. What can I say, I’m a big fan of albums, so it was fun to share a body of my work.

But that didn’t get me very far in terms of fan base growth, so now I’m focusing on growing my audience with singles.

Focus On Your Era

If you’re like me and love the process of creating an album but still need to grow your audience, then you may like the idea of developing an “era.” As this indie artist suggests, you can take your album tracklist and “put it on its side,” then release those songs throughout the year. Super interesting, right?

Yes, as an album lover, it’s difficult to let go of the idea of an album — the hallmark of a “true” musician. But as an indie artist, we must adapt or be left behind.

So maybe the new way forward combines the idea of an album — a collection of songs that make a statement thematically and sonically — with the strategy of singles — dropping the songs one at a time. And we call this an era.

So what era are you in now? And what era will you enter into next?

Photo credit: @felipepelaquim

Gone are the days of hyping your release before it’s out, at least for indie artists with a smaller fan base. People have shorter attention spans nowadays, so if you hype the release before it’s out, it will lose steam by the time it’s available. If you share a snippet of the song online and people like it, they’ll want to hear it right away. If it’s not out, people will forget about it. So this post is about how to implement the new music promotion method artists are using.

Release First, Promote Second

Here’s the new and improved way to release music today: release the song on all the platforms first, then start promoting the song.

As this indie artist says, “Nobody is going to check out your music before it releases.” And that’s so true. If you promote a song that’s not available for streaming, people are going to move on.

This indie artist concurs, saying, “If people are excited about [the song], they need to be able to go get the song immediately, or else they’re going to immediately forget about it.”

Or there’s Nic D, a full-time musician who only promotes his songs after they’re out. He’s very adamant that indie artists should not do pre-save campaigns. “Promote your songs when they’re out!” he says.

This “marketing guy” agrees, saying people who don’t know you won’t be interested in pre-saving your song (which they haven’t heard) for the future. They’ll just move on.

When people hear a song they love on TikTok, they will leave the app, open up Spotify, and search for the song. The numbers show: a video that gets buzz on TikTok correlates to more Spotify streams.

“Creating a viral TikTok hit is almost guaranteed to equal a boost in monthly listeners on music streaming services like Spotify,” writes DMN’s Ashley King.

This is what indie artist L Dre has noticed. After going viral on TikTok, he kept hearing from people who wanted to hear his songs on Spotify right away.

“When they hear something, they really wanna go listen to it,” he said.

Now, what are the chances you go viral on TikTok? Probably pretty slim.

However, because the TikTok algorithm feeds videos to peoples’ For You page, your music can get in front of complete strangers. Your music gets in front of people who have never heard of you before. So even if you don’t go viral, TikTok is a very effective way to promote your music to new people and grow your fan base. And before you promote on TikTok, your song has to be available.

How To Promote Your Next Song

So let’s take this info and make it practical for your next release. Based on other artists’ success, here’s how to promote your next song…

Release the song ASAP

Set your song for same-day release. If you do this, it may take a few days to a week for your distributor to deliver the song to the streaming platforms.

Just get the song out ASAP so you can start promoting it. Remember, people are going to want to stream it immediately after finding it on social media.

Don’t hype your song before it’s out

Don’t tell anyone you have a song coming out, at least not publicly. I know it’s difficult to keep the release a secret because you’re excited about it. But if you tease it and people love it, they have nowhere to go, nowhere to hear it. Then by the time the song comes out, the song will have lost momentum.

Promote your song only after it’s available on streaming platforms

Once you get notified that your song has reached Spotify and Apple Music (and not until then), start promoting it. Now people can listen to it immediately after hearing it in your TikTok video (or your preferred social media platform).

You’re not annoying people — keep promoting it

When you promote your song, you’re simply sharing something you made that you’re proud of. Share it excitedly and authentically and people will connect with that energy. And if you’re creative with your content, you won’t be annoying people. You’ll be entertaining them.

Promote Your Old Music Too!

This method of promoting a song only after it’s out, especially on TikTok, is not just for new music. You can promote your old music this way too. Because it doesn’t matter when your song came out, it’s new to people who have never heard it before.

“Stop treating your old music like it’s dead,” says this TikTokker. “…There’s literally 400 million users on Spotify. You know what that means? There’s millions…that could fall in love with your music, they just haven’t had the chance to hear it yet.”

An anecdotal example of this is Nic D, who said he released a song in January 2021 but it went viral and racked up streams in June or July of that same year. This supports the idea that release dates are irrelevant.

The beauty of music promotion these days is that it no longer matters when your song comes out. It can have a new life with a new fan base. People just need to find you, then they’ll find the rest of your music.

This is the third installment in a series of posts about TikTok’s best tips for indie musicians. There’s so much helpful content for musicians on TikTok, and this series is me sharing the best content I’ve come across. I’ve already covered music production and songwriting, so this post has some of the best music career tips I’ve seen on TikTok. This includes marketing tips, advice for growing your fanbase, and how to release music.

How To Use TikTok To Grow Your Fanbase

Authenticity is how you succeed on TikTok. Whether it’s how the app is designed or that’s just the vibe TikTok has put off, it’s the social media app that begs for realness. According to this TikTokker, he’s seen about 300 indie musicians (as of May 28, 2022) gain traction on TikTok for two main reasons: authenticity and conversion. First, post authentic content that shows your personality and that you enjoy shooting, Second, turn TikTok engagers into actual fans, like people who stream your music, subscribe to your email list, or join your Discord. How do you convert TikTok engagers to fans? Here’s a start.

Listen and You Will Learn More

@wshanelance

Reply to @whyuh8 a good way to sound smart is to listen

♬ Blade Runner 2049 – Synthwave Goose

There are a lot of things you don’t know. There are a lot of things I don’t know. And I don’t know the things I don’t know. So the best course of action, if I want to continually get better as a songwriter, producer, and independent musician, is to listen. Listen to people who know more than you and you will learn.

Promote Your Old Music

@symphony.os

YOUR OLD MUSIC ISN’T DEAD!#digitalmarketing #independentartist #musicmarketing #musicbusiness

♬ original sound – SymphonyOS

Millions of people have never heard your music. Just because a song came out last year, doesn’t mean its momentum is dead. Your old music is new music to new listeners. And once someone finds your old music and likes it, they’ll listen to your new music. So keep promoting your older songs.

It Doesn’t Matter How Many TikTok Followers You Have

@ndpndntpodcast

Reply to @jeffsmallmusic that’s the beauty of TikTok…you can have zero followers and get a million views with the right content. #independentartist #musicmarketingtips

♬ original sound – NDPNDNT PODCAST

TikTok helps creators reach new people because of the way its algorithm works. Other social media platforms primarily show your content only to your followers while TikTok shows your content to your followers and to people who don’t follow you (although other platforms are changing their newsfeeds to mimic TikTok). That’s why videos go viral, because it’s not limited to only that creator’s followers. This is why TikTok can be so good for indie musicians.

Albums vs. Singles: Which Are Better?

@ndpndntpodcast

If you’re just starting out, or your priority is growth, we highly recommend consistent singles > albums 📈 #independentartist #musicmarketingtip #singersongwriters #musicbusiness #indieartists

♬ original sound – NDPNDNT PODCAST

If you are trying to turn your music into a career, you may want to consider releasing singles before dropping an album. Use the traction from those singles to grow your fanbase. Then, once you have a group of fans that will listen to an entire album from you, release an album.

Don’t Rely On Playlists

@ndpndntpodcast

Reply to @zoeraemusic we love being on Spotify playlists, but would never prioritize them over building a catalog 💪 #playlists #independentartist #musicbusinesstips #indieartist #singersongwriter

♬ original sound – NDPNDNT PODCAST

The fellas from the NDPNDNT podcast say that building a catalog of great music is more important than relying on Spotify playlists. Playlists can definitely be good for indie musicians, but the more important focus is improving your craft.

Forget Blog Features and Social Media Ads

This TikTokker asks a couple simple questions and proves his point. When was the last time you discovered an artist from a blog feature? When was the last time you discovered an artist from a social media ad? For me, the main ways I discover indie artists is on TikTok, Spotify playlists, and word-of-mouth

Age Doesn’t Matter in the Music Industry

@real_inspirational

There’s no secret shortcuts so you might as well enjoy the journey and take pressure of yourself💯🙌 #Stevenpressfield #mindsetmotivation #lifejourney #deepfacts #deepthought

♬ original sound – Real_Inspirational

Just because you’re 21 years old and you haven’t blown up yet doesn’t mean you’ll never have a career in music. Tons of artists have turned music into a career in their 20s, 30, and even 40s. Heck, I’m in my 30s and I’ve never been closer to doing music full-time.

This is the second installment in a series of posts about TikTok’s best tips for indie musicians. TikTok is full of amazing content for musicians, and I want to share the content I’ve come across. I already covered music production, so this post includes some of the best songwriting tips I’ve seen on TikTok…

Victor Wooten on Creativity

@musicbydru

Was trying to find some inspiration and I stumbled on this incredible interview from #coreywong and one of my favorites #victorwooten it’s a must watch for any musician or producer! #fyp #foryou #foryoupage #foryoupages #producertok #musiciansoftiktok

♬ original sound – drû

Cory Wong (guitarist for Vulfpeck) interviewed legendary bassist Victor Wooten. And Wooten says something deep about being a musician — it’s more than just chords, theory, and structure. It’s about the power of music. It’s about the joy it brings and how songs affect listeners. Next time you write and produce a song, keep that in mind. Remember why you make music.

The Exhaustive Exercise

@benzaidi

it’s about buckets #writingtips #writertok #writersoftiktok #poetrytok #songwritersoftiktok #songwritingtips #tipsandtricks #musiciansoftiktok #fyp

♬ Lo-Fi analog beat – Gloveity

The basic idea of the exhaustive exercise is to write a song about something, then write another version of the song about the same thing. Then write about it again. Then again. And again until you’ve exhausted all your ideas on that specific topic.

Write Like Yourself

@muso.ai

Do you agree? 👀 #jamesblake #mentalhealth #music #song #producer #songwriter #foryou #foryoupage

♬ original sound – MusoAI

James Blake knows the issues you face when you try to write songs like someone else. This doesn’t mean you can’t get inspiration from others’ songs (in fact, that’s a good idea). But when you’re writing, write authentically. Get inspired, yes. But then make the song your own.

Write the Worst Song You Can

@jeremythemessersmith

We’re often not the best judge of our work so here’s a simple trick for getting out of the way. #songwriting #songwritingtips #musiciansoftiktok

♬ Lúppulagið (Live) – Sigur Rós

Veteran songwriting Jeremy Messersmith used to teach songwriting. And when he told his students to write the worst songs they possibly could, they ended up being the best songs they wrote in his class. This is a helpful tip if you often get in your own way when songwriting.

Summarize Your Idea in the Last Line

@andreastolpeofficial

What are some other songs that use this technique? #songwritingtips #dejavu #popculture

♬ deja vu – Olivia Rodrigo

Paint one picture in your verse, just one. Then tie it all together on the last line with an emotional lyric. Use the last line of your verse to summarize what you’re saying in that verse. Using this method can help give your chorus more of an impact.

RELATED: How To Write Song Lyrics That Are More Interesting

Flip Your Capo Around

@justinbishopmusic

Get a big sound with this #guitarhack by just turning your #kysercapo around. Bonus points if you can name the tune.

♬ original sound – Justin Bishop

Guitar players, this is a trick you need to try if you haven’t already. Flip your capo around so it’s pressing down only the A, D, and G strings. You get a nice open Esus sound. It gives you different chord structures and, therefore, a different direction when songwriting. (Note: this only works with the type of capo used in this video).

“I Don’t Need Theory”

@ryanoneilmusic3

#stitch with @yearofsong “I don’t need theory. I use my ears.” 🚩🚩🚩🚩🚩🚩🚩🚩🚩🚩🚩🚩🚩🚩🚩🚩🚩 #musictheory #musiciansoftiktok #producersoftiktok #musictheoryforproducers

♬ original sound – ryanoneilmusic

You don’t need music theory to be a great musician. However, never learning theory is not something to be proud of. Even simple theory can help you tremendously as a songwriter. Theory is the language of music, so it can help you understand chords, progressions, and melodies.

Don’t Ever Stop Writing Songs

@thhguru

Don’t stop making music. 🗣 #Pharrell | #hiphop #fyp #thhguru | 📹: @UnitedMasters

♬ original sound – TheHipHopGuru

Every day, you borrow things from the library of creativity, says Pharrell. And today, the creativity you access could be different from yesterday or tomorrow. You just don’t know what song you’ll end up writing if you don’t show up, so show up. Keep creating. Keep writing songs.

This is the first installment in a series of posts about TikTok’s best tips for indie musicians. If you don’t know already, TikTok is an ocean of amazing content for producers, songwriters, and musicians who need help with the business and promotion side of things. So to kick off this series, here are the best music production tips I’ve seen on TikTok…

Produce Music for Yourself

@thehustlerguide

Who knows his networth? #rickrubin #ceotalk #fyp #xyzbca #motivational #business #creatives #motivation #hustler #passion #successmotivation #success #successtips #money #recordlabel

♬ original sound – Hustleverse

Every indie producer knows about Rick Rubin. If you don’t, now you do. He has some blunt advice about how to “make things that you love.” Making music you love is enough reward in itself. But if you love it, other people are bound to love it too. Keep this mindset when you’re in the studio.

Run Producer Drills

@rillaforce

Answer @im_siowei #musicadvice #musicindustry #musictips #producer #beatmaker #beatchallenge #producertok

♬ original sound – Rilla Force

If you want to push your creativity to its limits, try what this producer calls “running producer drills.” Create for five minutes only. Then bounce it. Then start a new project and try to recreate the same exact sound. Rinse and repeat.

Vocal Production Trick

@rani.adi

VOCAL PRODUCTION TRICK #producer #production #howto #musician #popmusic #logicprox #music

♬ original sound – RANI ADI

Follow this tip for a fuller vocal sound. It involves doubling your vocals and then pitching those doubles. In addition to this tip, try layering your vocals several times. So just record a new take of the same melody on a new track, then pan it to the side. Then do that several more times.

Get Ethereal Ambient Sounds

@johnmarknelson

SoundShifter by @Waves Audio #piano #chill #music #vibe #fyp #musiciansoftiktok #protools #howto #producersoftiktok

♬ original sound – John Mark Nelson

Musician and producer John Mark Nelson shows you how to use a plugin called SoundShifter to get ethereal ambient sounds in your production. You’ll also need a decent reverb plugin (he uses Valhalla VintageVerb, which I love) and EQ.

Bounce Your MIDI to WAV

@ashertheproducer

💎 you don’t need endless control of those midi parameters… just fall in love with the sound and COMMIT 💎 #musicproduction #musicproducer #mixing #producing #commit #audio #charlieputh @Charlie Puth

♬ original sound – asher

Why bounce your MIDI sounds into WAV files? There are a few reasons. First, it makes you commit to the sound you chose. Second, it future-proofs your project because you may lose access to a plugin or your DAW crashes. Also, you can more easily edit and effect the sound of a WAV than a MIDI.

10 Mixing Mistakes To Avoid (Verified by FINNEAS)

@officialjustinsheriff

10 Mixing Mistakes #recording #musicproducer #audioengineer #producer #mixing #mastering

♬ оригинальный звук – звёздочка.

You need to see this list of 10 mixing mistakes. And then avoid them. FINNEAS, producer for and co-songwriter with his sister Billie Eilish, commented on this video, saying, “I do all 10 of these things and they’re literally the secrets to my success.”

RELATED: How To Use a Reference Track When Producing and Mixing

Getting a Balanced Mix

@streaky_com

#mastering #mixing

♬ original sound – Streaky – mixing & mastering

Next time you mix, turn the volume on your interface down. Then turn it down more, almost until you can’t hear the music. What elements jump out? Is everything equally audible?

It’s a good idea to make sure you can hear the vocals at this super low level. A good starting point is to make sure you can hear the vocals, kick, and snare when the mix is turned down.

RELATED: 5 Things That Make Mixing Music Easier

Trust Your Ears the Most

@greazywilmusic

#mixing #audio #mixadvice #recording #engineer #mixer #homerecording

♬ original sound – GreazyWil

Grammy-winning engineer and producer Greazy Wil makes the point that you should trust your ears. If your production sounds good, then it is good. And allowing too many cooks in your kitchen can lead you to thinking you need to change something when you don’t need to.

RELATED: How To Make Money as a Music Producer

Photo credit: dole777

Many music marketers say you need to run social media ads to promote your music. They say that’s how you grow your fanbase. And while that does work for some indie artists, there are caveats to running ads. You can’t simply boost a post and expect the streams to come rolling in. You have to really dive in and commit to it.

Internet Bots

If you run a social media ad, you can definitely reach new people who haven’t heard your music before. But you can also reach a lot of bots. Social media bots are basically automated programs designed to engage on social media like a human.

They’re a big enough problem that the United States Congress directed the Federal Trade Commission to create a report on them, specifically “the growing social media bot market as well as the use of social media bots in online advertising.”

What does this mean for indie artists running ads? Well, you may not know how many ad views and clicks are from humans and how many are from bots, a problem this Redditor claimed to have faced. And social media ads usually charge you per click, so bots could be wasting your money.

Oversaturation

Social media platforms rely on ads to pay the bills, which is why they are so addicting. The companies purposely try to make their platforms as addicting as possible so they can feed us more ads. And it works, which is why everyone has flocked to social media to promote their stuff.

Everyone, including musicians. Indie artists saw the potential in promoting their music to thousands of people and have given it a try.

But ask yourself, how many artists have you discovered through social media ads? And of those artists, how many have you kept up with?

I’m not saying social media ads don’t work for musicians, I’m just saying the ROI may not be worth it. The average social media ad CTR (click-through rate, the percentage of viewers who actually click on your ad) is about 1%. So if your ad gets shown to 1,000, only 10 people on average will actually click it. But then not all 10 people will actually listen to your music. And of the people who do, how many will continue to follow your music long-term?

Social media ads are not a sustainable business model for indie musicians.

RELATED: How Much Music Marketing Is Too Much?

Social Media Is Constantly Changing

Social media platforms are constantly changing how their algorithms work because they’re trying to milk as much money out of it as possible. They are businesses, after all.

And because of the ever-changing landscape of social media, it can be difficult to keep up with the nitty-gritty of ads as an indie musician. Now, this doesn’t mean you can’t ever run social media ads. It just means that, if you want to rely on ads to promote your music, you’ll have to commit the time and effort to keep up with the changes.

Because to succeed with social media ads as a musician, you have to learn the ins and out of your chosen platform. You have to learn everything you can about the backend of running ads. This is exactly how indie artist Lucidious got 200 million streams. He basically became an expert on how to run Facebook ads. He “mastered the Facebook Business and Ads Manager and ran all different kinds of video ads targeting fans of similar artists.”

So, yes, you can successfully promote your music with social media ads. The question is, do you want to commit the time, effort, and long-term consistency required?

Non-Ad Ways To Promote Your Music

If you’d rather not rely on social media ads to grow your fanbase, the good news is that you have other options. There are a few non-ad-related ways I’ve seen other artists use to successfully grow their audience, and I’ve seen these things work on a smaller scale for me too.

(But let me just remind you: great marketing is nothing without great music. So focus first on becoming so good at your craft that people can’t ignore you).

Playing live

This is, and may always be, the best way to get your music and name out into the world. Blowing up online is great, but there’s nothing quite like playing your songs for a room full of people. The connection that happens is not like anything you can experience online.

Assuming your music is good, you perform well, and you’re a nice person, you can gain new fans with every show. It’s a slow growth, but it’s consistent and nearly guaranteed.

Community > content

After you create the music, the next step you’re supposed to take is to create content for social media. And I agree.

However, while you should be creating content, you need to approach it with a community-first mindset. Content is necessary in the internet age, but it’s not the end goal. The content leads to engagement which leads to fans.

Building a community with your fans is what will lead to a sustainable music career.

TikTok

Currently, TikTok is the place to be as an indie artist. By this time next year, that may have changed. But right now, musicians are blowing up (or have already blown up) on TikTok, like Tai Verdes and Olivia Rodrigo. I personally have found so many musicians on TikTok whom I now follow on Spotify. It’s the main platform where I discover new music.

All it takes is one semi-viral video and you can gain a slew of new listeners. But even if you don’t become TikTok famous, it can be a great way to find new fans.

How? Well, the algorithm feeds your videos to people who don’t follow you, but rather people whom the algorithm thinks will like your videos. So complete strangers who have never heard of you before can discover your music. (That’s a very simplified way of explaining it, but you get the idea).

Then, as you gain new followers on TikTok, you have the opportunity to turn them into listeners and then into lifelong fans.

Consistency Is Key

Regardless of what platform you promote your music on or whether you use social media ads or not, you have to be consistent.

Are you going to invest time and money into running social media ads for music promotion? Then commit to it, become an expert at it, and stick with it.

Are you going to get your name out there by playing live? Then perform consistently, be good, and be nice.

Are you going to focus on TikTok? Then post a video every day and engage with your followers.

The best way to promote your music is to first consistently make music. Then consistently share it.

Photo credit: Mike Tinnion

As songwriters, we want to blow people’s minds. We want our lyrics to change lives, cause movements, and become so ingrained in society that they become famous sayings passed down through the generations. I mean, I do. But I’m often left with lyrics that, in hindsight, I could’ve written “better” (I don’t like that word…more on that below). So if you want to learn how to write song lyrics that are more interesting, here are some things I do to help myself…

First, What Does “Interesting” Mean?

When it comes to lyrics, I don’t like using words like “better” or “good.” Songwriting is the most subjective part of music-making. A lyric that speaks to one person might seem “stupid” to another person. So instead, I like to think of lyrics as interesting or not so interesting.

Interesting lyrics make you think, kind of like poetry. The words, phrases, and imagery are compelling and authentic. Even if you don’t 100% know what a lyric means, it can work in your song. If it fits and flows with the rest of the lyrics, you can always find the meaning later, when you’re done writing the song.

Although the phrase has evolved from its original state and meaning, it’s still true: “Art should comfort the disturbed and disturb the comfortable.” And disturbing the listeners of your music can simply mean “stopping them in their tracks and forcing them to think about what you just sang.” That’s what I mean by “interesting” lyrics.

Follow Paul Simon’s Songwriting Approach

Paul Simon, one of my favorite songwriters, “discovers” songs rather than “inventing” them. In the book Songwriters On Songwriting (a must-read for every songwriter), he talks about this idea. He also summed it up nicely in an interview with American Songwriter…

“It’s like you’re wandering down a path and you don’t know what the destination is,” he says. “Somewhere, toward the end, you can sort of see what the destination is and you can understand what the journey is about.”

Writing a song, to Simon, is like hearing a story for the first time.

“[The song] usually just goes along as a story that I’m telling, and I’m a listener, and at a certain point, I say, ‘Oh! That’s what it’s about.’ But that part of the process, I really can’t explain it.”

And he doesn’t stress out about meaning too much. Instead, he focuses on authenticity.

“The only thought that I give to it is: ‘Is that something that I really believe?’” he says about writing lyrics. “It doesn’t have to be insightful or anything. It just has to be not a lie. I can’t say, ‘I’m setting out to write a really deep, philosophical song.’ I would never say that. I have no idea.”

So when you’re writing a song, ask yourself: “Is this interesting? And do I believe it?” And the way I get more interesting and honest lyrics is by using a regular ol’ notebook ‒ but in a specific way…

Use This Notebook To Generate More Interesting Song Lyrics

A few years ago I started using a notebook that has changed how I write songs ‒ I’m much happier with my lyrics these days. I find them more interesting. I call it my Recycling Center Notebook.

It’s where I recycle ideas and quotes from others. Any time I read, hear, or watch something interesting ‒ anything that makes my songwriting ear bend ‒ I write it in this notebook. It could be a quote from a book, something someone says in conversation, or dialogue from a Netflix show. Sometimes it’s a direct quote, sometimes it’s a thought I had inspired by a quote.

Then when I’m looking for lyrics or a song title, I leaf through this notebook, inviting something to jump out at me.

Here’s the specific rundown of how I use my Recycling Center Notebook:

1. Jot down anything interesting I read, hear, or watch (direct quote or paraphrase)
2. Date the entry
3. Cite the source (example: book title + page number)
4. Look through the notebook when I’m searching for lyrics or a song title

Ironically, I stole this idea from writer and artist Austin Kleon. He calls it a Swipe File, but he even stole the idea from someone else. The Recycling Center Notebook is just my version of this method but for songwriting.

Give it a try. I’ll wager you end up with more interesting song lyrics.

Photo credit: Camilo Jimenez

Most indie musicians don’t have an oversaturation problem, it’s that they’re not getting seen enough. But it’s still possible to annoy the living heck out of your current audience if you’re not mindful of how you promote yourself. You need to have an online presence, but you also don’t want to be too present all the time. You need a healthy balance. So here’s how to do the right amount of music marketing…

Is There Such a Thing as Too Much Marketing?

Comedian, musician, and director Bo Burnham doesn’t post on Instagram very much. In fact, he posts once every several months. He’s not much of an internet user in general. When he launched his Netflix special INSIDE, which earned him three Emmy awards and a Grammy award, he posted on his Instagram on April 26, 2021. Before that, his last post was in June 2020. Nearly a year of silence on his profile.

Granted, Burnham already had a big audience so he didn’t need to focus on growing it. But there’s something to be said about not posting unless you have something to say. Posting for the sake of posting may not be the best music promotion strategy. Plus, if people become used to seeing your content every day, each post becomes less special. As I’ll talk about below, quality content always trumps quantity ‒ if it’s just for the sake of quantity.

How To Do the Right Amount of Music Marketing

Music marketing nowadays is less about using traditional marketing methods, like ads, and more about focusing on your entire online presence. So everything you post, you could argue, is part of your music marketing strategy. And the “right” amount of music marketing will be different for every artist, but below are some tips for finding a balance that works for you.

Quality always trumps quantity

The quality of your social media content and music promotion attempts is the top priority here. I’m not saying you shouldn’t post something online every day or multiple times a week. Some platforms pretty much require that for you to grow your following, like TikTok and YouTube. But the key is to focus on the value your content brings to your followers.

If you’re creating music on a regular basis (which you need to be doing if you want to turn it into your career), then you’ll have no problem finding interesting and valuable content to post. Take a quick video of you in the studio or on stage. Post a selfie with an update on what you created that day. Share a voice memo of a song you’re writing.

Just don’t post something for the sake of posting it, just because you feel like you have to stay in front of your audience at all times.

Talk about your music less

You know those people who only talk about their “thing” all the time? They’re super annoying and not fun to talk to, so don’t be that person online. Don’t only talk about your music. And I get it, it’s your social media profile and people follow you to hear from you. But, for example, your friends aren’t friends with you because you make music ‒ that’s just one aspect of you they appreciate. So share your music, but also share other musicians’ work, speak out for causes you care about, post funny memes, or whatever else sets your pants on fire. Just don’t make your social media profiles 100% about your music.

Don’t post too much of one thing

On a related note, your social media shouldn’t just be about any one thing. You are an interesting human with multiple facets to you. Your existence is not one-dimensional and neither should your online presence. So post about more than just your music or music in general. Share whatever is important to you. Not only is this a more authentic way to live online, but it’s also going to let your audience get to know you better. And connecting with your fans is always a good thing for your music career.

Have an email list, but use it only when needed

If you don’t have an email list at this point, you’re behind. Yes, people probably get more emails than they can handle, but most of those emails are from companies trying to sell them something. When a fan subscribes to your email list, however, that means they care enough about you and your music that they want to hear from you.

The trick is, only email your fans when you have something they would care about. Don’t just email them with something like, “Not much happening with my music lately, but check out my song from 6 months ago if you haven’t already!” If you have nothing to say, it’s better you don’t clutter your fans’ inboxes with an email that says nothing.

Be Authentic Regardless

No matter what you do, be your authentic self. No need to stress about what “voice” to use so you can grow your “brand.” The simplest and most real approach is to make your brand you, not some image you create and curate. Granted, we all curate our online lives to an extent, but just make sure you’re not posting anything you’ll regret the next day.

Authenticity is the best type of music marketing and it always will be, whether online or on the stage. It will, in the long-run, do better than ads, press write-ups, and playlisting.

If you’re wondering whether you’re doing too much music marketing, just ask yourself this: “If I had to market directly to my mom/friend/loved one, how often and by what means would I share my music?”

Photo credit: Soundtrap

The main thing that will make mixing easier for you is practice. There’s no getting around it. You have to put in your 10,000 hours. However, there are some tips that can help make your practice more efficient and your skills improve faster. Here are five of those tips…

A Nice Pair of Monitors

Technically, you can mix an entire song on headphones (I’ve done it). It’s not the best idea, but with some finagling, you can do it. You just have to listen to the mix on as many sound sources as possible, make sure it sounds good in mono, and play the mix for other people.

But ideally, you need a decent pair of studio monitors. You can hear more clearly. It’s more realistic because you hear it with room sound. And using monitors causes less ear fatigue than headphones, which helps you hear frequencies you might otherwise miss. It can help to mix with both monitors and headphones. But if you can only choose one, choose monitors. Your mixing experience will be way easier.

I currently use the PreSonus Eris E5 monitors. They sound great and are affordable compared to other monitors.

Listen First

It’s easy to fall into the habit of doing things just because someone told you to. For example, I had gotten into the habit of cutting all frequencies below 100kHz on vocals just because I heard someone say that’s what you should do. But it all depends on the song. Sometimes you can leave those frequencies in there.

You’ve probably heard people say, “Just use your ears!” It sounds like a cop-out answer, but it really is the truth. Listen to your song before you start correcting things. Does it have too much low-end? Is it muddy or tinny? What elements are too loud or too imperceivable?

Listen first. Then correct or enhance as needed.

Use a Reference Track

Using a reference track means you listen to a professional mixed and mastered song and use it as a guide for your mix. You can even use a couple of different tracks. Maybe you like the snare sound from one song and the vocal mix of another. Listen to the professional song through the monitors and/or headphones you’ll be mixing with and try to get those same sounds in your track.

I have not used this tip as much as I need to. But when I do, it’s amazingly helpful. It makes mixing so much easier. For a full walkthrough on using a reference track, check out this post.

Incorporate Bussing

When you use a bus (or “aux”) channel in your DAW, you’re sending a copy of the audio from one channel to another channel. And then you apply an effect to the second channel, the one where the first channel(s) is being sent. The reason this makes mixing music easier is that you can apply the same effect to multiple channels at once and adjust the parameters at once.

For example, let’s say you have a bunch of layers of vocals and you want to apply the same reverb to all of them. But you don’t want to add reverb to each channel individually ‒ that would take forever. Plus, if you wanted to change the settings for the reverb, you’d have to do so on each channel separately.

Instead, when you send those vocal channels to one bus channel with reverb applied to it, you can quickly and easily adjust the reverb sound for all of the vocals from one place (the bus channel). Now, because this sends a copy of the audio from each channel to the bus channel, you’ll still have the unaffected vocals in the mix. But you’ll also have a channel that’s outputting all of those vocals with reverb applied.

If you want to learn how to start bussing in your DAW, check out this post.

Ask for Feedback

This has been the most helpful thing I’ve done for my mixing knowledge and skills. I’ve been fortunate enough to have an engineer friend who’s given me tons of feedback on my self-mixed tracks. Through his feedback alone, I’ve learned so much.

So try to find a talented mixing engineer who is willing to give you feedback on your mix. Try networking to find this person, then see if they’re willing to barter something (ex. you promote their services in exchange for giving you mixing feedback). If you can afford it, there are people who offer that as a service. At the very least, ask your fellow musician friends for mix feedback.

Photo credit: Tamarcus Brown

A&R stands for “Artist & Repertoire.” What in the world does that mean and do you need it? This post will cover what it means and talk about how, yes, you do need A&R but not in the way you might think.

What Does an A&R Representative Do?

The traditional role of A&R was crucial to an artist’s success. Before the internet, in the days when the record labels held all the power in the music industry, A&R reps were the gatekeepers. You didn’t find success in music unless an A&R rep found you.

Nowadays, A&R reps still exist and still have important roles in the music industry. They’re just not as essential as they once were. Typically, record labels still work with A&R people, hiring them to scout talent. This involves going to shows, listening to demos, and keeping an eye on what artists are gaining traction. Then, if there’s an artist worth signing, the A&R rep is the person the artist works with directly.

What’s happening today is A&R people will wait to see what artists are succeeding, then sign them to the label. They no longer focus on developing artists, but rather invest in artists whom they know can make the label money.

If and when an artist signs a deal with a record label, the A&R rep (ideally) is the middleman between the artist and the label’s upper management. Also, anything that involves finishing the artist’s record, the A&R rep is there to help. This could mean the rep is helping the artist find a producer, choose the songs for an album, how to market the music, and what the artist’s “brand” should be.

You could categorize all of this under “artist development.” Their main goal is to help the artist turn a profit for the label.

Do Indie Musicians Need A&R?

Having an A&R rep sounds like it would make life easier, and it would. But remember, A&R reps are only interested unless you’ve already got a decent following and are already making a career in music. Generally speaking, they no longer find no-name artists without a fanbase and invest time into developing them. You will only get their attention if you’re gaining traction.

And how do you gain traction as an indie musician? You put in the work. You don’t sit around and wait for someone to “discover” you (as I did for many years). You, the artist, are in control. You create the career in music you want without help from an A&R person.

So do you need an A&R rep? No. If your career grows to the point where an A&R rep is reaching out to you, you know you’re on the right track. If you can strike a record deal that’s in your best interest, then go for it. But most of us are not (yet) in that position.

So no, you don’t need an A&R rep, but you do need an A&R approach.

How To Be Your Own A&R

You can be your own A&R rep. This is where you have to wear different hats at different times: your creative musician hat and your businessperson hat.

Let’s recap what a traditional A&R rep does or helps the artist do:

• Focuses on the financial success of the artist
• Finds session musicians, a producer, a mixing engineer, and a mastering engineer
• Gives input on the songs that should be on an album
• Does marketing and promotion of the artist’s music
• Carries out the business negotiations
• Defines the artist’s “brand”
• General artist development

You probably do most or all of the things on this list. If you’re not doing any of these things as an indie artist, you need to start.

Because here’s the thing: you are your own A&R. In fact, you play every role in your business (i.e. your music career), at least until you have too much work that you need to start delegating tasks to a manager or accountant.

Be your own A&R representative until you start attracting actual A&R representatives. Because when that happens, you’ll either land a record deal or be in a position to take your music career to the next level independently.

Photo credit: Sincerely Media

By now, we all know you can record songs in your bedroom that sound like they were recorded in a professional studio. Technology has come a very long way.

Billie Eilish and Finneas are the ones who helped make this obvious to the general public. And there are tons of indie artists who have been and continue to record amazing songs from home.

Now it’s your turn. So here’s how to set up a bedroom home recording studio…

Why You Need a Bedroom Home Recording Studio

I am not at all against fancy, non-home recording studios. Honestly, they often provide a more ideal space, way nicer equipment, and a producer or engineer to help you record. And if you can afford one of those studios, go for it.

But you still need a bedroom home recording studio. Let’s look at some different reasons why…

If you’re a songwriter looking to get your songs cut by artists, you need to be able to record high-quality demos at home. If you don’t have the budget for a professional studio, you can still record pro-level music from your bedroom. If you want to get hired to produce and/or mix music for other artists, you need your own studio that’s easily accessible.

Really, it comes down to being able to easily express your creativity. At the very least, a home studio lets you quickly record your ideas. But you can also record music that sounds just as good as music on Spotify playlists or the radio.

The Essential Recording Equipment and Software

When it comes to recording equipment and software, you have pretty much endless options. But if you’re just starting your journey of recording at home, here are the basic things you need:

• • Laptop or desktop
  • Digital audio workstation (DAW)
  • Audio interface
  • MIDI controller
  • Microphone / XLR cable
  • Microphone stand
  • Pop filter
  • Sizeable desk and comfy chair

To dive further into choosing the right equipment and software, check out this post.

How To Set Up Your Recording Studio

Once you’ve got your equipment, there are three main things to consider with your bedroom home recording studio: the space, acoustic treatment, and arranging your recording station.

Spaces to avoid

You may not have much of a choice when it comes to a recording space. But there are some things to consider when deciding where to set up your recording studio.

I’ve recorded and mixed music in a walk-in closet that ended up on TV. I’ve recorded music in my living room and bedroom that people have added to Spotify playlists. So you can definitely work with the space you have.

That being said, if at all possible, try to avoid these kinds of spaces:

• • Small, enclosed rooms
  • Rooms with lots of outside noise
  • Carpeted rooms (ideally, you want a hardwood floor with a rug ‒ carpet absorbs mainly higher frequencies and not so much lower frequencies, which is not good for sound)
  • Square rooms (multiple frequencies with the same wavelength will reverberate around the room the same way, leading to phasing problems)

Again, recording at home limits your space options. Which is why arranging your space correctly and using acoustic treatment are so important.

Arranging your recording station

Now you need to choose the positioning of your monitors. The rest of your setup revolves around this.

Here are the main things to focus on:

• • Keep the monitors off the wall to allow for a more even bass response (check the monitors’ user manual for specifications)
  • Move the monitors so their distance to the wall behind them and their distance to the walls on either side are not the same
  • For larger rooms, put the monitors along the longest wall
  • For smaller rooms, put the monitors on the shorter wall
  • Ensure your listening position is not more than halfway across the room
  • Create an equilateral triangle between your ears and the monitors with the monitors pointed at your ears
  • Don’t lay your monitors on their sides (unless the user manual says to)

Much of the things on this list may not be possible with the space and equipment you have, but do your best. My recording studio doesn’t meet all these requirements and neither do many other home studios.

Just do what you can with what you’ve got.

Acoustic treatment

There are three main types of acoustic treatment items to use: absorbers, diffusers, and bass traps.

With absorbers, sound waves pass through them, changing the intensity of the sound. They help lessen the intensity of echoes and bass frequencies.

Diffusers help reduce the muddiness of a room by altering the angle at which the sound waves reverberate around the room while preserving the natural reverb of the room.

Bass traps absorb lower frequencies, around 250 Hz.

If you don’t have an ideal recording space, it’s best to make sure you don’t have too much room sound. In fact, if you don’t have an ideal room, it may be better to get as dead of a sound as possible ‒ you can always add emulated room reverb, but you can’t remove natural room reverb after it’s in your recording.

Just know, having a dead room sound can work for vocals and acoustic guitar but probably won’t sound good with a piano or live drums (fortunately, there are really good piano and drum plugins).

When placing your acoustic treatment, here’s where to put them (in order of importance):

1. 1. Absorbers on the walls on either side of your ears
   2. Bass traps in the corners of the room, starting with the top corners
   3. Absorbers on the wall behind the monitors

If you can’t afford professionally made acoustic treatment, you can use things like thick blankets, pillows, and a mattress. And honestly, your bedroom probably has several natural absorbers, diffusers, and bass traps, like your bed, dresser, and other furniture.

Ready To Start Recording?

Check out our complete guide on getting started as a bedroom producer, whether it’s for your music or for other artists.

You know when you play a song on Spotify and you see a short looping video? Yeah, that’s a Spotify Canvas.

This post is all about creating and uploading a Canvas for your songs on Spotify. I’ll go through the requirements, dimensions, tips from Spotify to increase engagement, and the nitty-gritty of setting up your Canvas.

What Is Spotify Canvas?

Spotify Canvas is a 3-8 second looping video that plays when someone streams your song. You can make a different Canvas for each of your tracks on Spotify, which can give each track a life of its own.

Why Should You Care?

Before doing research for this article, I always thought Spotify Canvases were cool, but like…so what?  Isn’t it just another marketing/branding gimmick? As it turns out, no. Canvases can do a lot for your performance on Spotify. Last month at CRS in Nashville, Spotify’s Soy Kim offered some convincing stats for artists and managers who who were thinking about adding Canvases to their tracks.

For starters, a high-quality Canvas increases the engagement fans have with your music. Specifically, here’s what happens with tracks that have a Canvas, according to Spotify:

• 145% more likely to get track shares
• 20% more likely to get added to playlists
• 9% more likely that fans will visit your profile
• 5% increase in streams
• 1.4% more likely fans will save your song

Plus, when you or anyone else shares your song on Instagram, the Canvas will appear automatically, making your post more engaging.

(Excuse me while I go make a Canvas for each of my songs on Spotify…)

How To Create a Spotify Canvas (Specs and Best Practices)

Alright, so how do you actually make a good-looking and engaging Canvas?

Spotify Canvas Specs

First, here are the Spotify Canvas requirements. You have to follow these for Spotify to accept it:

• Dimensions: 9:16 ratio (vertical)
• File format: MP4 or JPG
• Pixel size: at least 720px
• Length: 3-8 seconds

If you use graphics in your Canvas, they may not appear on some phones if they’re outside the Safe Area.

Also, according to Spotify’s content policy, your Canvas cannot include:

• Dangerous content
• Deceptive content
• Sensitive content
• Illegal content
• Promotional content

How To Make Your Spotify Canvas Engaging

According to Spotify, here’s how to make your Canvas engaging…

• Don’t put your artist name and song title in the video (they will already appear in the Now Playing view)
• Don’t use footage that has talking, singing, or rapping
• Don’t use videos with flashing or rapid video cuts because that can overwhelm the listener/viewer
• Try to tell a full story within the 3-8 seconds
• Some phones may cut off the edges of the Canvas, so keep the most important parts centered

Spotify has three main types of Canvases they recommend using:

1. Continuous Loop: has a seamless loop, where listeners can’t tell where it begins and ends
2. Hard Cut: has clear edit points (you can get creative with your edits)
3. Rebound: plays your clip forward, then backward

Need a Spotify Canvas template?

I found three Spotify Canvas makers that have templates, and they’re free…

• Tuneform 
• Kapwing
• rotor

Really, they all do the same thing. It’s just a matter of picking the one that’s easiest for you to use and/or has templates you like.

How To Upload Your Spotify Canvas

How do you turn on Canvas for your songs? The above video explains very clearly how to upload your Canvas, but I also listed the steps below:

1. In your Spotify for Artists account (app or browser), go to your Music tab
2. Click on the song you want to add a Canvas to
3. Click the “Create Canvas” button (“Add Canvas” on the browser)
4. Click the + sign
5. Upload your video
6. In the Spotify for Artists app, you can trim the length of your video (must be 3-8 seconds)
7. Hit “Agree & Post”

From there, listeners will be able to see the Canvas within the hour. To change or edit your Canvas, follow these same steps ‒ you’ll just see an “Edit Canvas” button instead.

Spotify Canvas Not Working?

If your Canvas isn’t working, here’s what you can do:

• Make sure your video meets the Canvas specs, requirements, and doesn’t include anything that’s not allowed (see previous sections for more info)
• It can take an hour from the time you upload your video for it to appear publicly
• Remember that Canvas only shows in the Spotify app
• Check to see that your phone works with Canvas here
• In the Spotify app settings, make sure the Data Server is switched off
• In the Playback section of the Spotify app settings, make sure Canvas is switched on
• Canvas is only available in certain countries ‒ here’s the full list

Growing Your Spotify Following

Adding a Canvas to your tracks can definitely help improve your performance on Spotify, which means you can potentially get more streams, more followers, and more engagement from listeners.

I’m saying this to myself too: go create a Spotify Canvas for each of your songs, at least your most recent ones. 

Image credit: John Mark McMillan

The irony of this blog post is not lost on me. I’m creating content that’s telling you to stop creating content. But let me explain.

What I mean is, your music is not content. It’s art. When you create music as art, you’re making something wonderful. When you create music as content, you’re selling out.

Content vs. Art: the Difference

The difference between content and art comes down to the motivation behind creating. It’s your why behind the thing you made. Content starts with others. You create content when you begin with what others want, or what you think they want. Art starts with you. You create art based on what you think is best for the art.

Music is art and we should treat it as such.

What Happens When Art and Content Collide?

There are some situations where it can be unclear if music is truly being treated as art or if it’s seen more as content. For example, when a film composer gets hired to create music for a film, is that art or content? Well first, just because someone gets paid to create something doesn’t automatically make it content. It’s okay and good to earn money from your art.

Second, I would argue that a film is a piece of art (assuming the filmmaker viewed and created the film as art). So the composer is making art (music) to compliment another piece of art (film).

Here’s another example: when people use my music (art) in their TV show or commercial (content), is that okay? First, a TV show could be considered art (like a film). And if that’s true, I’m making art that’s getting synced with another piece of art. Secondly, I have to go back to why I made the music being used in a show or commercial.

In my case, I write and produce my original songs as authentically as I know how to. During the creative process, I’m not thinking, “I’m going to write about THIS topic because music supervisors want these kinds of lyrics” or “I’m going to produce a song THIS way because that’s the genre that works best in sync licensing.”

I’m just making music that resonates with me. I do my best to create music as art. I don’t want others’ expectations, or what I perceive their expectations to be, to affect how I make music.

So, artistically, I’m perfectly okay licensing my music to TV shows and commercials. I already made the music as art, and I’m okay getting paid by allowing someone to use my art with their content. Pairing my art with content does not make the art content. It’s still art.

Again, it’s all about the why behind the creation of the music.

How To Create Music as Art

If you want to make sure you’re creating music as art — that it’s authentic — here are some questions to ask yourself. I recommend your song pass three different tests so you can be sure you’re digging deep enough into your authenticity and creativity: the Feel Test, the Wait Test, and the Human Test.

How does this song make you feel?

I have a rule for myself: as I’m writing and/or producing a song, it has to cause an emotional reaction in me. If it doesn’t, it needs more work. It could be that the song makes me smile, get choked up, or dance in my seat. I have to physically respond to the song and the production, or keep working on it.

It has to pass the Feel Test.

Will this be a good song a year from now?

Another rule I have for myself is this: if a song I wrote still makes me feel something a year later, then I’ll record and release it. That means I’ve created art worth sharing. You don’t have to wait a year, but it is a good idea to sit on your finished songs for a bit. Then revisit them and make sure they still cause you to feel something. It has to pass the Wait Test.

Does this song tap into the human experience?

Great art taps into the human experience. Being a human can sometimes be difficult to put into words, which is why music combined with lyrics and stories can do the trick. If a song resonates with you, it will surely resonate with others. But to make sure, try playing the song for a friend in-person and see how they react. If they don’t have much of any reaction, the song needs more work because it hasn’t tapped into the human experience enough.

It has to pass the Human Test.

What Will You Say On Your Deathbed?

As art creators, whether or not we make a living from our art, there’s one question we all will ask ourselves on our deathbed…

“Did I make a contribution to the world that I’m proud of?”

And I say, why save this question for the end of your life? Ask yourself this question today, as you’re making music. And ask it before you release your music. “Is this song the type of contribution I want to make to the world? Am I proud of it?”

Music is a powerful force. It helps people cope with tragedy, celebrate moments, and feel seen and heard. We musicians do a disservice to music and to the listener by treating music as content.

That’s what I mean when I say don’t create content, create music.

This article was inspired by this Instagram post, which is also the featured image.

Photo credit: Hans Vivek

There are a ton of apps and websites centered around connecting musicians with each other.

And I’m sure they have a lot of good things about them. But there are simpler ways to do it. Based on my experience, here’s how to find musicians in your area.

Reasons You May Want To Meet Local Musicians

If you want to do any of these things, this post is for you…

Start a band

Forming or joining a band is smart, if that’s what you want for your music career.

It’s simple math. The more people who promote the same music, the more listeners who hear about it.

If you start a band with musicians you find in your area, that’s four people with four different social circles promoting the same music and shows.

This leads to more exposure and faster growth (assuming the music is great).

Network

Networking is not just for hoighty-toighty business people.

Networking is great for the solo artist who wants to collaborate with other musicians.

And it’s a good way to meet people in the industry other than musicians, like venue owners, audio engineers, people in sync licensing, or whatever other niche you’re interested in.

Co-write

Not every co-writing session will be productive. Not every songwriter you work with will vibe with you.

That’s okay.

I’ve found co-writing helps me improve my songwriting, even if we don’t end up with a song worth releasing.

Plus, you never know when you’ll meet someone who you work well with.

Learn something

Whether or not you create music with musicians in your area, you can learn from them.

Be curious. Ask them about their creative process. Try to pull out any knowledge they have.

For example, I treated a music composer to coffee, and I learned a lot from him.

How To Find Musicians in Your Area: 4 Ways

Here are a few ways I’ve connected with musicians in my area (and globally). Give these a try…

Facebook groups

I have mixed feelings about Meta/Facebook for many reasons, but Facebook groups are a great way to connect with local musicians.

This is how I’ve gotten a production client, hired local session musicians, and learned more about the sync licensing industry.

As long as you don’t live in the middle of nowhere, there’s most likely a Facebook group for musicians in your area.

Meetup app

Through the Meetup app, I’ve found songwriting groups and a networking group for musicians.

And the networking group led to a co-writing session with two other musicians.

This app can be a great way to meet multiple musicians at once, which means you’ll have a better chance of meeting someone you connect with.

Open mics

Open mics are one of the most underrated resources for musicians.

It’s a way to test out your new material, kind of how a comedian does at open mics.

If you’re good, you can gain some new listeners.

And you can scout out musicians before you introduce yourself. You can make sure you like their sound before you meet them.

Emailing artists you respect

This one works with local musicians or people from anywhere in the world.

When you find a musician you like, find their email on their website. Then shoot them an email. The worst that can happen is they don’t respond.

What do you say in the email to increase your chances of starting a conversation?

Try this:

• Start off with a genuine compliment
• Quickly introduce yourself
• Ask them a question (you want them to respond after all)
• Keep it short

Come up with a personalized question, like “How do you like to start writing a song?” People like to talk about themselves and their creative process. And you’ll learn from it. Don’t ask a basic question you could find on Google.

So, that’s how to find musicians in your area, based on my experience. Try these out and pick the ones that work for you.

Photo credit: Alex Padurariu

We musicians often feel like we have to do all the things, all the time.

But honestly, building a music career can be simplified into two halves.

Creativity and consistency.

Those are the two things you need to succeed as a musician.

So let me talk about how to stay creative and consistent so you can make the career you want.

First Half of Creating Music: Creativity

Creativity is what leads to music that moves people. If you’re creating music people love, you can have a career in music.

And creativity isn’t genetic. It’s not a gift that only some people have. Every human is creative.

But to turn your creativity into a career, you need to put in the effort to inspire, capture, and express your creativity through music.

Inspiring creativity

Creativity is part genetics, part environment. Some nature, some nurture.

A study from 2016 backs me up on this.

The researchers say, “A primary source of individual differences in creativity was due to environmental influences, even after controlling for random error and method variance.”

In other words, you can inspire your creativity even if you think you’re not naturally creative. You just need to be intentional.

The best way to encourage creativity is to learn from musicians you respect. “Steal like an artist,” as Austin Kleon would say.

Here are a few ways to be a more creative musician:

• Learn to play others’ songs. You’ll notice lyrics and chord progressions you may not have as a listener.
• Write down anything interesting you read or hear. Go back to it during your songwriting session for inspiration.
• Try to make a song that sounds like your favorite artist. The song inevitably won’t end up sounding like that artist but rather more like you.

Capturing creativity

It’s one thing for you to feel creative or have a burst of creative energy. It’s another thing to capture that creativity.

Ever have a great idea while you’re in the car and you can’t write it down? Or have you dreamt a melody while you’re half asleep but you forget it before you have a chance to record it?

It’s frustrating.

So here are some tools that can help you capture your creative ideas:

• Your phone. This is by far the most useful tool for the modern songwriter. It lets you quickly jot down lyrics and record melody ideas. I personally love Evernote for songwriting.
• A notebook full of ideas from other places. Kleon calls this a Swipe File, I call it my Recycling Center Notebook. It’s a place where you write down anything interesting you’ve read or heard. Then you can go back to it for inspiration.
• Your DAW. You have to know how to use your chosen DAW because you need to be able to record ideas quickly, before you lose them.

Expressing creativity

Sharing something you’ve created can be scary. You’re putting a part of yourself out into the world for people to judge and comment on.

But if you want to build a music career, you’ll need to share what you’ve made. Nowadays, it’s also a good idea to share your process, not just the end result.

This means you’ll have to get over your perfectionism.

As Josh Spector says, “A creation that’s ‘not quite ready’ and released, is better than one which is ‘almost perfect’ and not released.”

Here are some ways you can express what you’ve created:

• Share one small thing a day. A 15-second video of you recording. A picture of you writing songs. This not only keeps you on your audience’s radar, but it also encourages you to actually create music every day.
• Show your process. Fans love to see how the magic is made, so show them how you make music.
• Share, but don’t spam. Converse with people online. Share your stuff, but then share other people’s stuff, message them, comment on their posts. Be part of the online community.

Second Half of Creating Music: Consistency

Creativity without consistency leads to overwhelm.

A creative person who doesn’t take action on their creativity will start to feel like they’re not living up to their potential.

And that’s true.

So here’s how to consistently be creating music.

Use the 2-Minute Rule

James Clear, habit expert and best-selling author, suggests using the 2-Minute Rule.

“When you start a new habit, it should take less than two minutes to do,” he writes.

Take the things you want to get done and scale them down to just the first two minutes.

It’s less overwhelming. It’s doable. And often, you’ll end up working for longer than two minutes.

This is the same idea as taking baby steps (see: What About Bob?). Consistent, small movements toward a goal are better than infrequent, big leaps. The former leads to longevity, the latter leads to burnout.

Schedule things in your calendar

Get rid of your to-do list. The most successful people don’t use one. They use a calendar.

Instead of having a list of things you need to do at some point, you can find time in your schedule to do those tasks.

Then your device can remind you, “Hey, remember you said you were gonna do that thing? You have time now. So do it.”

For example, I added a daily, 15-minute event in my calendar titled “Do songwriting.” And not surprisingly, I do songwriting every day now.

Track your wins

When you accomplish something for your music career, write down what it was and what date you reached it.

Our brains, in an attempt to protect us, remind us of how we messed up so we don’t make that mistake again. And that’s a good thing.

But if all you think about is how you screwed up, you’ll get discouraged. Then you won’t have as much motivation to do music.

Tracking your wins counteracts that.

You’re intentionally highlighting what you’ve done well, things you’ve accomplished, and how you’re growing your music career.

When it comes to creating music, the two most important factors to focus on are your creativity and staying consistent.

Photo credit: Kimberly Farmer

If there’s one thing I wish had more of when I first started my music career, it’s direction.

I wandered, following the pack until I realized it wasn’t working for me.

And one of the main ways I’ve found direction as a musician is from books.

So below are seven of the best books for musicians to read. If you want to feel encouraged and learn practical ways to grow your music career, check these out…

Austin Kleon’s Trilogy on Creativity

Austin Kleon is a writer who draws and a best-selling author. He makes a living from creating art, and in his trilogy of books on creativity, he shares what he’s learned.

Steal Like An Artist

The subtitle of this book is “10 Things Nobody Told You About Being Creative,” and as someone who has read this book several times, that promise delivers.

The whole idea of “stealing like an artist” is not to copy or plagiarize. It’s to let your favorite artists inspire your music. Us humans are recycling centers, whether we realize it or not.

An example of stealing like an artist is a notebook I call my Recycling Center Notebook (my version of Kleon’s Swipe File). Any time I read, hear, or watch something interesting, I’ll jot it down in my RC Notebook. It could be a direct quote from a book or a thought I had inspired by something I just heard.

Then, when I’m songwriting, I’ll revisit this notebook for inspiration and ideas.

Steal Like An Artist has a lot more tips on creativity, inspiration, and balancing your art with your life. If you only read one book from this list, read this one.

Show Your Work!

After you learn how to steal like an artist, this book will show you how to share like an artist.

Show Your Work! includes 10 encouraging ideas on how to get your art into the world, overcome the fear of people’s opinions, and use practical promotion techniques.

It will show you how to engage with your audience in a way that grows your career yet doesn’t make you feel like a sketchy salesperson.

Keep Going

Consistency is the most important aspect to focus on as an indie musician. And Keep Going is all about how to not give up in your journey as someone who creates.

Kleon talks about adopting a healthy mindset, forgetting the noun and doing the verb, and the benefits of going for a walk.

He also offers less obvious tips, like building a Bliss Station, making gifts for others, and allowing art to make your life better.

Songwriting Books by Paul Zollo

Paul Zollo is a singer-songwriter, author, and journalist. And he’s interviewed some of the best songwriters in modern music, like Bob Dylan, Leonard Cohen, and one of Frank Sinatra’s main songwriters.

Songwriters On Songwriting

Songwriters On Songwriting includes 52 interviews with some of the greatest songwriters of our time and our parents’ time. And each interview is just the transcript, so you get to read every word these legends said about songwriting.

Tom Petty talks about working with Bob Dylan. Dylan says we don’t need any new songs. Madonna chats about working with Prince. Pete Seeger reminisces about touring with Woody Guthrie. Paul Simon shares some of his songwriting process.

And tons more fascinating stuff.

This thick book is packed full of interesting stories and songwriting wisdom. So if you want to write more compelling songs, this book is for you.

More Songwriters On Songwriting

You thought Zollo was done after just one book? Nope.

More Songwriters On Songwriting is exactly what you think it is ‒ interview transcripts with even more legendary songwriters.

In this sequel, you can hear directly from Peter, Paul and Mary, James Taylor, Randy Newman, John Prine, and even Disney songwriter Richard Sherman.

It also includes interviews with younger songwriters, like Matisyahu and Sia.

If you enjoy Songwriters On Songwriting, you’ve got to get this sequel book.

How To Make It In The New Music Business by Ari Herstand

Ari Herstand is a musician and the founder of the music business advice blog Ari’s Take (he also used to contribute to Digital Music News). He’s played several hundred shows, gotten his music on TV, and has helped tons of indies grow their music careers.

And his book, How To Make It In The New Music Business, is pretty much like the music business bible. If you’re trying to build your music career, you have to read this book.

First he talks about the changing music industry at large, then he lays out how to record, release, promote, and perform your music.

You’ll also learn exactly how you can make money from your music, like touring, sync licensing, and music royalties.

I regularly reference this book to refresh my memory on how to do something or how things work. Get a copy for yourself.

Atomic Habits by James Clear

“Atomic” refers to “an extremely small amount of a thing” and “the source of immense power.” A “habit” is a “routine or practice performed regularly.”

So Atomic Habits teaches you how to take small yet powerful steps toward your goals on a regular basis.

And in today’s music industry, most indie artists who go full-time will be working at it for a while. Most artists don’t get big, career-changing breaks.

So you need to develop habits that move you toward the music career you want.

This is the best book for learning how to do that in a way that’s not overwhelming.

And those are the 7 best books for musicians to read. Even if you can’t read these books now, I highly recommend you at least add them to your reading list, like right now. (I use Goodreads for that).