Welcome To The Nashville Music Industry © 2014 Vinny Ribas for Indie Connect
How Nashville Works
People in Nashville are extremely friendly, helpful, accommodating, generous and caring. And when it comes to the music business, Nashville is really a small town. By that I mean that everyone knows everyone. Whether you’re looking to get a job as a musician in a top band or get signed to a label, you first have to earn your way into the ‘circle’. If people trust you and believe that you have the talent, they will introduce you to the people you need to know. Most of the time it takes constantly networking, meeting people, making a good impression, following up on conversations, being respectful, being professional and knowing your boundaries in order to find someone who will be your ‘ticket in’.
One of the biggest mistakes that many singers, songwriters and musicians make is not being ready when opportunity presents itself. If you’re a songwriter and in a position to have someone listen to a demo of your songs, have one ready with your name and contact information printed on it. Do not use magic marker or stick-on labels. Invest in a CD printer so that you look completely professional. If you meet or someone introduces you to a club owner or entertainment buyer, have a promotional package together to hand him or her or an EPK (electronic press kit) that you can send him or her. Keep in mind that no matter where you go in Nashville, someone in the room ore in close proximity to you is probably either in the music business or knows someone who is.
Most importantly, you want to always be perceived as professional. Don’t get lost in getting autographs or gawking at celebrities. You want to be perceived as someone on their level who they would like to get to know and possibly do business with.
Networking Since Nashville is based on getting to know people, here are some of the prime ways to network.
Websites and Newsletters www.IndieConnect.com – Packed with videos, articles, tools and resources on success in the music industry. It’s member-based, and has a free membership level. Paid members get more advanced content. It also has a social network where you can connect with others in the industry. www.NashvilleMuse.com – Sign up for Doak Turner’s newsletter to find out what’s happening in the songwriting community every week. He lists all of the clubs as well as special events. www.NashvilleMusicPros.com is a social network with almost 4000 members. It’s free but you must qualify to be a member by somehow showing that you are a professional in the music business. www.nashvilleuniverse.com is a social network that also actively tries to connect artists with people from the music industry. They host jam sessions, contests and a lot more! www.Nashville.com has a local musician’s forum. The Facebook group ‘Welcome To Nashville Artists and Singer Songwriters’ has thousands of members https://www.facebook.com/groups/205516429538073. The ‘Nashville Music Industry Facebook group (https://www.facebook.com/groups/NashvilleMusicIndustry) is a great way to get connected and to know what’s happening in town. Just Plain Folks is a global songwriter forum that has a lot of local members – www.jpfolks.com. Nashville Pro Musicians and Singers is another valuable social network (http://nashvillemusiciansandsingers.ning.com) Music Starts Here (www.MusicStartsHere.com) is a website geared towards people who are new in Nashville and interested in the music industry. It has tips, articles videos and more. Young Music Professionals (YEP) holds a variety of networking events. Join their Facebook group (https://www.facebook.com/groups/yepnashville) and check out their website at www.yepnashville.com. The ‘Nashville Music Industry’ group on LinkedIn (www.linkedin.com) has over 3200 members. It’s a great place to make connections as well as get your questions answered. www.MusicNewsNashville.com is a great website for learning about what’s happening in Nashville. Subscribe to their daily email blast. Nashville Gig Finder Facebook page – finf gigs and/or band members (https://www.facebook.com/groups/Nashvillegigfinder) Music City Arts Update – Popular newsletter that lists events in all of the arts. Published by music publicist, Chuck Whiting. www.musiccityartsupdate.com
Cold calling As mentioned earlier, Nashville is a relationship town. Many doors are opened only by introduction. However, if you are professional in your demeanor, you can often get permission to present your songs to some publishers, song pluggers etc. The key is to let them know the reason you want to meet and how much of their time it will take (the shorter the better). If you get the appointment (it just takes persistence), dress casually but neatly (tie, dress etc. not required). Get right to the point. After the meeting, send a follow-up thank you. If you present yourself well, they will be more inclined to talk longer, invite you back or even introduce you to someone else who might be able to help you more than they can.
In Public You will see celebrities and meet high-level industry people everywhere you go in Nashville. They visit the clubs. They eat at the restaurants. They shop in the stores. When they are having private time, like eating with friends at a restaurant, it is best not to stare at them or interrupt them. Don’t pitch your songs or give them your CD. This is called ‘gherming’. Please respect their privacy. You’ll have a chance to meet them again in a more appropriate setting.
Industry Events There are always different industry events going on around town. The PROs (performing rights organizations) host events. The many nonprofits have fundraising events that are great to plug into. Subscribe to as many trade newsletters as possible to get the complete listing. The Music News Nashville website and daily email blasts are packed with current happenings (www.musicnewsnashville.com). The Nashville Muse announces many of these events. Also check out the local newspapers like Metromix, The Tennessean and The Nashville Scene. Nashville is also home to many major industry events, all of which are tremendous networking opportunities. Here are just a few: Events o Indie Connect – Runs various industry networking/training meetings. Check the website at www.indieconnect.com/events. o Young Music Professionals (YEP) holds a variety of networking events. Join their Facebook group (https://www.facebook.com/groups/yepnashville) and check out their website at www.yepnashville.com. o www.Meetup.com – There are several Meetup groups in town. The 2 most prominent ones are The Nashville Songwriters Meetup Group and The Nashville Singer, Musician and Songwriter Meetup Group (run by Indie Connect) o Nashville Music Pros (www.nashvillemusicpros.com) holds occasional networking events for its members. o Workshops and seminars – There are always all kinds of workshops and seminars going on around town. Many are listed in the Nashville Muse newsletter (www.nashvillemuse.com) ,on www.NowPlayingNashville.com. On Nashville Music Pros (www.nashvillemusicpros.com) and in the Nashville Music Guide (www.nashvillemusicguide.com). Some of the many organizations that run these workshops are Indie Connect, NSAI, BMI, ASCAP and SESAC. Rick Barker runsa free monthly workshop (www.rickbarker.com). The local colleges often host workshops and other events. There are also a lot of individuals who host their own workshops .Hit songwriter, Kirsti Manna runs Songwriter Girl (www.songwritergirl.com) which hosts songwriter camps. Others include Jeffrey Steel, Steve Leslie, Bernie Nelson etc.), top vocal coaches (Judy Rodman), live music producers (Tom Jackson) etc. The list is endless. o NAMM – National Association of Music Merchandisers (www.namm.com) – holds their summer convention here. It’s a great place to meet reps for endorsements. o CRS – Country Radio Seminar, put on by Country Radio Broadcasters (www.crb.com) o Gospel Music Association’s ‘Immerse’ (www.gospelmusic.org) – Chrisitan musician conference. o Americana Music Festival and Conference (www.americanamusic.org) o CMA Music Festival (www.cmafest.com) o Next Big Nashville (www.nextbignashville.net) o NSAI’s Tin Pan South and weekly pitch to publisher events – (www.nashvillesongwriters.com)
Get Involved There is no better way to make a good impression than to meet people while joining and/or volunteering to help out a local nonprofit. Some of the music-related organizations include:
Women’s Music Business Association (http://wmbanashville.org) - A tremendous organization for connecting with other women in the industry. Musicares – Provides assistance to people in the industry during times of need. www.musicares.com Tennessee Songwriters Association – www.tnsai.com Get connected with local songwriters. NSAI – Nashville Songwriters Association International – (www.nashvillesongwriters.com) Get connected with songwriters and publishers. With over 150 chapters worldwide, you can connect with writers everywhere. Nashville Blues Society (www.nashvillebluessociety.org) – Get connected with other blues musicians. They run a weekly open mic and host other events. ASCAP and BMI are nonprofit organizations and always need volunteers. SESAC might as well, although they are not a nonprofit organization. Music For Sight (www.musicforsight.org) IEBA (International Entertainment Buyers Association (www.ieba.org) – meet entertainment buyers at their annual convention. Global Songwriters (www.globalsongwriters.com) is another powerful songwriter organization. CMA – Country Music Association – www.cmaworld.com Country Music Hall Of Fame (www.countrymusichalloffame.com) Nashville Songwriters Foundation (www.nashvillesongwritersfoundation.com) Musicians Union (aka Nashville Musicians Association) – www.nashvillemusicians.org Songwriters Guild (www.songwritersguild.com) Americana Music Association (www.americanamusic.org) Leadership Music (www.leadershipmusic.org) AES – Audio Engineering Society (www.aesnashville.org) SOLID – Organization for young professionals in the music industry. (www.solidnashville.com) Nashville Association of Talent Directors – Meet booking agents, managers, artists, venue owners and more. www.n-a-t-d.com Nashville Music Publishers Association – (http://www.nmpa.org) – for serious publishers. A2IM – American Association of Independent Musicians (www.a2im.org) – Represents independent record labels, but anyone can join. Holds quarterly meetings. Gospel Music Association (www.gospelmusic.org) IBMA – International Bluegrass Music Association (http://ibma.org) – get connected in the bluegrass world. Songsalive – International songwriters organization (www.songsalive.org) Film Nashville –Everything film related - (www.filmnashville.org) Women in Film and Television (http://wiftnashville.org) – get connected in the film industry.
Always carry business cards with your name, email address, phone number and website on them no matter where you go! You never know when someone is going to ask for one, or decides to pass your card on to someone who might need your services!
Songwriting Songwriters in the Round – This is where 3-4 songwriters perform, taking turns playing their songs. There are many of these all around town, the most famous being at the Bluebird Café. You can see many hit writers as well as up and coming writers at these events. It is possible for you to perform at these events if you get to know the promoters or if you’re invited by one of the writers who already perform in them.
You can perform at the legendary Bluebird Café by showing up on a Monday night to audition. Since there are always more people who want to audition than there are open slots, if you’re not called for to perform the first week you’re there, you’ll get a voucher guaranteeing that you’ll get your opportunity the next time you come to the Monday night audition.
Showcases: There are many songwriter showcases around town. There feature one or more writers who each play several songs and then turn the mic over to the next writer. Check the Nashville Muse newsletter to see the complete listings.
Open Mics: There are many open mics for songwriters. At most of these you can just chow up and put your name on the list, or arrange with the promoter ahead of time to be put on the roster.
Publishers: There are hundreds of publishers in Nashville. All kinds of music, but mostly country and Christian are represented. Many publishers have staff writers and don’t accept outside material. Some will accept outside submissions. ALWAYS call ahead to find out what their policy is before showing up at their door. Some take appointments, and others request that you mail your submissions. A few will also take online submissions.
Be sure to do your homework! Get references to appropriate and reputable publishers. A personal introduction is always the best way to get your foot in the door. Remember that you only want to work with a publisher who publishes your style of music and has a track record of success. Know these things BEFORE you submit your songs.
Publishing Contracts: There are almost as many songwriter contracts as there are songs! The Songwriters Guild has what is considered the best songwriting contract (favoring the songwriter in every way. However, many publishers have their own contracts with their own terms and will not use the Songwriters Guild contract. www.songwritersguild.com
Staff Writing: A staff writer is someone who draws a weekly stipend from a publisher to write a specified amount of songs for them. The pay is then recouped by the publisher from any royalties due the songwriter. These deals are few and far between and very difficult to come by, and do not pay very much ($20,000 - $25,000/yr. is average). You need to prove that you have mastered the craft of songwriting and have already written quite a few high-quality, pitchable songs.
Song Pluggers: Song pluggers are people who you pay monthly to pitch your songs to publishers, A&R reps (record companies), artist managers and other key decision makers. Most do not take anything on the back end, though some take a small amount in exchange for a reduced monthly fee. Be VERY CAREFUL when searching for a song plugger. There are many scam artists out there who prey on aspiring songwriters. E sure to do your homework. Get references, ask to see their track record of cuts, ask others for referrals, and inquire about a song plugger’s reputation. It is very easy to get taken by people who claim to be able to work miracles for you!
Tip Sheets: A tip sheet is a list of which artists are going in to the studio and are looking for songs. It will tell when the artist is recording, who the contact is and what kind(s) of songs he or she is looking for. The most reputable one is Row Fax (www.rowfax.com), put out by Music Row Magazine. There is an annual cost for this. Co-writing: The best way to get your songs heard is to co-write with writers who already have the industry’s ear. Writing with a hit or established songwriter gives you instant credibility! But even though the hit writers are performing all over town, in most cases you can’t just go up to a hit writer and ask them if they would write with you. Most only work with other established writers. Many won’t even take CD of yours because they are afraid that you will someday accuse them of plagiarism. If nothing else, they will first want to hear samples of your writing. It’s good if you can invite them to hear you perform. Better yet, ask around to get a personal introduction from someone they trust. Ask them if they would be willing to check out your website or one of your social network pages to hear your music.
You can work your way up writing with established writers by co-writing with other good but not yet published writers. You can find them at any of the various songwriter nights as well as at Doak Turner’s '3rd Sunday at 3' events. It is perfectly acceptable to approach these writers and ask if they would like to co-write. It’s best to have a signed co-writer’s agreement with anyone that you write with. It should include both names, the date the song was written, what each writer’s contribution was (lyrics, music, both), what percentage of ownership each writer has, who the publisher is (if there is one), what percentage of the publishing they have, who is paying for the demo and who has the right to assign or license the copyright.
Be wary of services that ‘put music to your lyrics or poems’! They are mostly scams. If you have any talent at all, you should have no problem meeting serious songwriters to co- write with. And if you haven’t substantially honed your songwriting skills, there are plenty of songwriting classes at local universities, workshops put on by NSAI, Indie Connect, the Songwriters Guild and individual hit songwriters where you can fine tune your writing. And chances are you will meet people to co-write with at any of these events.
Songwriter Critiques: Many established songwriters offer paid song critiques. As with anything else, do your homework to make sure that you are dealing with someone who is reputable. Several organizations also rub formal songwriter critique events. At these events you have the opportunity to play an original song, and then professional writers offer their personal critique. This can be a great way to get a pro to hear your material. If they really like it, you have a legitimate opportunity to ask them if they would be interested in co-writing with you.
Pitching Your Songs: There are many ways to pitch your songs, including playing them for publishers, songwriters, band members, artists, A&R reps, relatives of artists, neighbors of managers etc. Remember that this is a relationship town. Just about everyone knows someone who is in the industry at some level.
When pitching your songs, be sure that your CD and CD cover look professional (printed, not hand-written). Be sure that they both have your name, the names of any co-writers, your phone number, your email address and your website (in case they want to read about you or listen to more songs). Sometimes CD cases and CDs get separated, so you want all of the pertinent information on both of them. If the CD has more songs than you’re asking the listener to check out, be sure to stipulate which track(s) they should listen to. Never ask them to review more than 3 songs at a time. 1 or 2 is best if it is your first meeting with them or first submission. They will ask for more if they like your writing. NSAI holds a ‘Pitch To Publisher’ night (and a Christian Pitch-to-Publisher night) once a month for its members. Several publishers show up to listen to songs live. They will often ask to hold on to a song that they like, or even offer a publishing deal. This is a great way to get in front of publishers you may not be able to reach otherwise.
Holds: A publisher or artist will put your song ‘on hold’ if they want to consider it and don’t you to pitch it to someone else in the meantime. While this can be very exciting, there can also be challenges with it. You may have a great song that they have no intention of recording, but don’t want anyone else to record because it would be competition. The best way to get around this is to limit the amount of time that you will allow them to have the song on hold. 1-2 weeks, maybe up to a month, would be more than ample time for them to play the song for anyone else who is in the decision process.
Demos: In today’s market, most songs are being pitched with fully produced demos that sound like they themselves could be on the radio. Some songs with extra strong melodies and lyrics, mostly ballads, can be pitched with just a guitar or piano and vocal. Anything with a beat should have a well-produced demo.
Some people are capable of producing acceptable demos in their home studios. If that is not you, then you’ll need to hire a demo studio. Be sure to ask around to get a producer who has a good reputation for producing pitchable demos. He or she should be able to pick the right studio, engineer, musicians and vocalists for your project. Don’t let anyone bully you into paying more than your budget. Your producer should work within your budget or tell you that he/she can’t help you.
Songwriting demo costs can run from a couple hundred dollars to $1500 or more per song. Most writers will spend between $400-$750 per song. The cost is based on which studio, producer, engineer, vocalist and musicians you use. On the low side, some musicians can play all of the instruments themselves and even sing your demos. The top professionals are the ‘a-list’, and will cost you the most. The advantage to using a-list pros is that you will get a production that sounds as good as what you hear on the radio. The music and vocals will be unparalleled. The down side, of course, is that using a-list players, singers and producers raises the cost significantly.
As with everything else, be sure to get references. Ask your friends for referrals to reputable professionals. Listen to songs recorded at the studio, songs produced by several producers etc. Do your homework to be sure that you’re going to get exactly what you need and at a price that you can afford. Be sure the price includes the studio, engineer, producer, singers, mixing and mastering. Also be sure that you will own the master recording! Get the total price and the terms in writing. If you’re an IndieConnect member you can watch a great video by studio owner and producer, Cliff Goldmacher, titled “The Songwriters Guide To The Demo Process”. It will keep you from making very serious and costly mistakes. There is an e-book that accompanies this video as well.
Indie Connect also has a great video by Grammy award winning producer/engineer, Rich Adler, titled ‘Everything You Want To Know About Producers’.
Nashville Number System – Most musicians in town chart their songs using the Nashville number system. Without getting into great detail, it substitutes numbers in place of chords or notes as they are related to the root chord. A number chart alone has no key. Once a key is picked for the song, the numbers represent the relative chord changes. This makes it possible to play the song in any key without having to write a new chart.
You don’t have to know how to write your songs out in the number system, although it does same time in the studio (and therefore money). If you don’t chart the songs out, either your producer or the session leader will do it for you. Be sure to get a copy of the chart in case you ever decide to rerecord the song, want to play it live with musicians who don’t know it, or someone else wants to cut it.
Performing Rights Organizations (PRO) – Performing rights organizations collect royalties any time that your song is played on the radio, in a venue, on TV etc. They do not collect money for music that is sold. If you are a songwriter about to get (or getting) airplay or you’ve licensed your song, you will need to choose one PRO to affiliate with (SESAC is invitation only).
There are 3 major performing rights organizations – BMI, ASCAP and SESAC. Feel free to call on them and ask what the benefits of each one is before picking one. All 3 have ‘Member Relations’ representatives whose job it is to meet with their members and help them move their songwriting career forward. It may be hard to actually get an appointment because they are very much in demand, but it is worth being persistent. The PROs also hold member orientations that are worth attending.
Songwriting Organizations: o NSAI www.nashvillesongwriters.com o Songwriters Guild www.songwritersguild.com o Tennessee Songwriters Association – www.tnsai.com o ASCAP – Performing rights organization for royalties on airplay and public perfrmances– www.ascap.com o Global Songwriters – www.globalsongwriters.com o BMI – Performing rights organization for royalties on airplay and public perfrmances – www.bmi.com o SESAC – Performing rights organization for royalties on airplay and public performances - www.sesac.com o Sound Exchange – Performing rights organization that collects royalties for artists on Internet airplay – www.soundexchange o Harry Fox Agency – Collects mechanical royalties (for music that is sold) – www.harryfox.com o Songfile – A service of the Harry Fox agency where you license music to record if you’re pressing less than 2500 copies. – www.songfile.com
Recording Recording Your Own CD or EP – Many artists come to Nashville to record their CD for any number of reasons. First of all, it sounds impressive. Sometimes they just want that ‘Nashville Sound’ that they can’t get anywhere else. But for most, coming to Nashville and recording here with top musicians is a serious career move.
Producers – It is wisest to interview numerous producers to find the one that ‘gets you’, that understands the sound you are after and who has the ability to deliver that sound. Be sure to listen to some of the record they’ve produced in your genre so that you are confident in their abilities. An experienced producer knows many of the studios, engineers, musicians and vocalists in town and can put all of the pieces together for you. They should also be able to work within your budget, assuming that it is realistic. Be sure that the price they give you includes mixing and mastering, and that you will own the master when the product is done. Picking the right producer, as well as the right studio, engineer, musicians etc. is vital because you want everyone involved to be able to give you the sound you want with the best quality possible.
It is common for a prominent, well-established producer with hits under his/her belt to ask for ‘points’ on the back end, meaning a percentage of the CD and download sales. The most common deals are anywhere up to 4 points, which equals 4% of the profits.
Studios: There are studios of every size and quality here. Many musicians and producers have high-quality studios in their homes. Many of these studios used to be on Music Row until the music business slowed down and it became too expensive to stay there. Don’t get bullied into thinking that you need to use a studio on Music Row to get a great sound, especially if your budget is limited!
Performing Venues – There are many places to get a list of all of the music venues in Nashville. The Music Business Directory is one source. Metromix, a weekly publication, lists all of the nightclubs and who is performing at each. Nashville Muse is a great source as well.
Keep in mind that there are many small towns like Liepers Fork just outside of Nashville that have popular nightspots as well.
Getting Paid – Making a living playing in Nashville nightclubs is virtually impossible. The number of bands and singers looking for gigs far outnumbers the number of gigs. In addition, many of the venues have songwriter nights where no one gets paid! You can still make good money performing at conventions, weddings and other private engagements.
Many people come to Nashville and perform for free hoping to be ‘discovered’. This might only happen once or twice a century, so please don’t hold your breath. It’s not the way the industry works. However, performing a lot beefs up your resume and increases your chances of meeting great co-writers and influential industry personnel. It also hones your craft. All in all, it helps to create the ’buzz’ that is required to move up the musical ladder. Whether you’re a singer, songwriter and/or musician, nothing can replace the power of constant exposure.
Songwriter nights/rounds – As mentioned earlier, getting to play at many of the songwriter nights is a matter of auditioning, just showing up or getting invited to perform, depending on the venue and the host/promoter of that particular engagement. The best thing is to visit the various venues and ask the MC/host what you need to do to secure a spot.
Booking Agencies – Booking agents or agencies find you gigs. Getting a good booking agent often depends the amount of money that you are already making. Because they make their income from a percentage of an artist’s income, it just makes sense that they only want to work with artists whose high enough income makes it worth their while. Larger agencies like Buddy Lee Attractions and the William Morris Agency will not work with artists who are not signed to a label. They look for artists who are in demand and have a very large draw because they are passive, just waiting for the phone to ring to book their acts.
However, there are smaller agencies who have or are wiling to make the contacts in nightclubs, fairs etc. to book lower-paid acts. They aggressively pursue venues and build relationships with the entertainment buyers. Most of these agencies still won’t book someone who is unproven and who doesn’t have professional marketing materials.
If you are calling on booking agencies, be sure to do your homework ahead of time. Find out if they are reputable, have contacts in the kinds of venues you are looking to be booked in, and are aggressive. Also be sure to have an entertainment attorney or someone who is experienced in working with agents review your contract. Many agencies demand that you sign on with them exclusively. That means that they get a percentage of every gig you perform, regardless of who booked it. Some ask that you stay with them for 2-3 years. Some get paid directly by the venue and then pay you your fee. That means that you never know what percentage of your income they took. These are not necessarily bad deals if they keep you working and treat you fairly. However, at this point in time, it just may not be the best deal for you.
Before calling on agencies to book you, it is best to learn to book yourself. There is a great video on Indie Connect called ‘Booking Yourself’ that is available to members and non-members alike. In addition, there is a great book called ‘How To Be Your Own Booking Agent’ by Jeri Goldstein. Once you’ve built a following and a demand, you can work your way into larger venues. At the point, don’t be surprised if booking agencies find you!
Managers: Finding a good manager poses almost the same challenges as finding a booking agent. They also work on a commission basis (15-20% is the industry norm), and therefore look for artists who are already making money.
Many people think that they need a manager, when in fact they are far from being ready for one or able to afford one. Your manager is your career coach. They also take care of the business side of your career. You only need a manager when you are no longer capable of handling your own business. Reaching stages where difficult career decisions need to be made may be an indicator that it is time for a manager. When you’re juggling press interviews, marketing, booking, managing the band, dealing with legal issues and performing in front of larger and larger audiences, it is probably time to look for a manager. In fact, at that point it is likely that experienced managers will begin to pursue you.
Be aware that there are many people who call themselves managers but don’t have a clue as to what a manager really does. Some fans just might like your music enough to offer to be your manager. Make sure that the person you sign on to manage you has a great reputation, vast industry experience, a strong track record and your best interest in mind at all times. They have your career (and your money) in their hands, so be certain that you trust them with your whole heart.
What does a manager do? In short, an indie artist’s manager runs the artist’s business, guides his or her career, hires and fires team members, manages the finances, seeks out record label deals, seeks sponsorships, chases airplay, finds prominent performance opportunities and acts as the voice of the artist to the press, the label(s), attorneys etc. Finding Bands/Musicians – There are many ways to find bands that need musicians or singers, or find musicians to form a band with. Here are a few: o Indie Connect meetings o Jam sessions o Nashville Gig Finder - www.facebook.com/groups/Nashvillegigfinder o Songwriting events o Nashville.craigslist.com o www.Backpage.com o Local newspapers like The Tennessean and The Nashville Scene o www.musolist.com o www.Bandmix.com o www.musicians-in-your-city.us o The social networks mentioned above o Some genre-specific associations, such as: . International Bluegrass Music Association – www.ibma.org . Nashville Blues Society www.nashvillebluessociety.org . Gospel Music Association – www.gospelmusic.com
Session Work There is always a need for good recording session players and vocalists. However, getting producers and artists to know who you are, how to reach you, how good you are, that you’ll be professional (show up on time, sober etc.) and that you’re available can be a challenge. Here are some pointers: Offer to play on some demos fro free or for very little just so that many different producers see you. Put a sample demo together from the different sessions. Learn to write and read the Nashville Number System fluently. Strive to be the best. Good can get you a few low-paying gigs. Great can put you in demand. Practice every day. Learn to be versatile in your playing styles. Master more than one instrument. Top multi-instrumentalists are very sought after. Get great at learning songs quickly. In the studio, time is money, and no artist wants to pay for your learning curve unless the song is extremely complex. Network everywhere! Have a presence on all of the social networks. Go to live networking events. Look to meet artists, producers, engineers, other session players and vocalists. Follow up with people you meet and build relationships. Have a demo CD of your playing ready to hand to anyone who asks for it. Post samples of your playing or singing online and have a link to it on your business cards and promotional materials.
Record companies There are hundreds of record companies in Nashville ranging from indie artist owned to major labels. The truth is that anyone can hang a shingle out that says they are a record company. What that means to you is that you may be approached by record companies who really don’t have the clout, distribution, contacts, financial resources, manpower etc. that are necessary to be of benefit to you. In fact, Nashville has its fair share of ‘vanity presses’ – companies that prey on artists who don’t know the industry. They take a considerable amount of your money and record a CD for you regardless of the quality of your songs, your voice etc. They may promise that they will send it out to hundreds of radio stations. But the truth is that many unsuspecting, inexperienced artists walk away with a substandard product and no promotion at all. Major and Independent Labels: There are 4 major record labels in the US – Sony, EMI, Warner Music Group and Universal Music Group. Each label also has its own ‘imprints’ or subsidiaries. These companies exist in name only, with all of the management being done by the parent company. They are often set up to market a specific genre of music.
Many former major label artists are leaving their record companies and setting their own up. The reasons include having control of which music and how much music they record and promote, retaining ownership of their masters and keeping the profits.
There are also many independent record labels that are owned by independent artists, former label executives, attorneys etc. Many are successful, often in a particular niche, such as Big Machine (Taylor Swift, Tim McGraw and others), and the recently transplanted Rounder Records (Alison Krause/Robert Plant, Mary Chapin Carpenter and more). Naxos is the world’s largest classical music label, and has their US office here.
Getting Signed - You will hear talk that the major labels is not signing any new artists. The truth is that they are always looking for great, unique talent. However, the focus has shifted from developing brand new acts from scratch to promoting acts that have already proven their mass appeal. That means that they look for acts that have massive online exposure, a large ‘true’, opt-in mailing list (not just MySpace ‘friends’, has sold a considerable number of CDs on his or her own, and possibly has received considerable airplay on secondary radio stations. This minimizes the record company’s risk tremendously. When an act that has reached this level, the company is basically just using its money and access to major radio to take the experienced and already developed act to the final level.
Because there are so many record labels, and the industry is in major flux, many versions of recording contracts are emerging. The one getting the most attention is the ‘360 deal’, in which the record companies get a piece of every penny an artist takes in, from music sales to merchandise to concert tickets. This works for some artists, and yet others run for their lives from it. Only you, your manager and your attorney can decide whether this is a good deal for you.
There are also many smaller record companies that have come up with their own unique deals. Be sure to always have an entertainment attorney look over any contract that you may be offered. Many artists have gotten stuck in one-sided, stagnant deals that they can’t get out of. Promising careers have been completely stifled or simply killed because of a bad record deal.
Many major artists are opting out of their record contracts to become independent. At the same time, many unsigned artists are also choosing to stay independent. Some of the reasons for this include: o You have total control over your career. o There are no limitations regarding your age, talent, appearance, location, income, willingness to travel, musical style(s) etc. o You have more income opportunities because you own your songs and recordings. o You have more co-writing opportunities - you’re not limited to the label’s writers. o You choose where you want to build your fan base – anywhere in the world. o Many venues accept unsigned artists and artists who book themselves. o You choose how, where and when you want to record and how much you want to spend. o You choose the songs you want to record. o You have access to talent buyers worldwide. Where do you want to go? o You retain the publishing on your songs, which means more income. o You choose how you want to market yourself. There are amazing tools online. o Every day indie music s becoming more and more accepted o You have the opportunity to sell or give away any kind of recordings you want to, such as studio cuts, acoustic cuts, concert cuts, impromptu live cuts etc. o You can start your own record label, be the only artists or sign other artists to it. o You choose your team – booking agent, manager, attorneys, band members, road managers. There is no one assigned to you by the label. o You have access to the same fan metrics that major labels use. o You have access to many experts in the industry, including former major label employees and executives.
Of course, having the responsibility for everything on this list and not feeling competent enough to handle it all is one reason that you might be better off signing with a label. Only you can deside!
Showcasing – Artists who are seriously looking for and ready for a record deal, a booking agent, a manager etc., will set up a showcase and invite the appropriate industry executives to come see them perform. They will also try to pack the place with friends, fans and family so they look very popular. There are a lot of do’s and don’ts involved in showcasing your act. There is a great video by Bob Bender on the Indie Connect website titled “Showcasing Yourself and Your project” (for members only),
Publications/Newsletters/Books Nashville Music Guide – Magazine that is published every 2 months. Many artists, nightclubs, record labels etc. advertise in this. It is free and available in most clubs and other music-related businesses, and there is an online version. Their website is also packed with club listings, info on writers, jam sessions etc. www.nashvillemusicguide.com Music Row Magazine – Bi-monthly magazine about everything that is happening on music row. Subscribers also get daily emails with up-to-date news and much more. Their website also has up-to-date news. www.musicrow.com RowFax – - www.rowfax.com - Country music pitch sheet Music News Nashville – ‘Nashville’s Information Source’ – is a free daily digest of Nashville music industry news. Their website also has resources, event listings, a list of open mics and writers nights and more. www.musicnewsnashville.com Nashville Music Business Directory – An annual directory of artists (some), music professionals, service providers and record labels in Nashville. www.nashvilleconnection.com The Nashville Scene – Free weekly magazine with Nashville news, events, arts, dining, music etc. – www.nashvillescene.com ‘The Absolute Essentials of Songwriting Success’ by Rand Bishop The Nashville Number System – A book by Chas Williams that explains the Nashville number system that musicians use to chart songs. www.nashvillenumbersystem.com 25 Notes For The Successful Musician – A book by Chad Jeffers, Carrie Underwood’s guitar/dobro/pedal steel player. The book has great insights into what it takes and what it’s like to be an A-list musician in Nashville. www.25notes.com Songwriter’s Market – A popular book that lists thousands of music publishers along with the kinds of music they publish, some of their credits, their contact information and submission policy. Available at any major bookstore. American Songwriter – Popular magazine on songwriting and songwriters. www.anericansongwriter.com
Employment Music Industry Jobs – Coming to town and getting a job in the music industry can pose a bit of a challenge because of all of the people already in town seeking the same thing. However, as with anything else, networking is the key. Use the social networks, go to Indie Connect meetings, attend other networking events (even those that are not music related) and don’t be afraid to knock on doors. You may start with the smaller companies and work your way up the ladder. Just keep in mind that everyone you meet knows someone at some level in the industry, so treat everyone with respect and you won’t have a challenge making the contacts you need.
The range of industry jobs is endless. Some require prior music business experience, but many are general labor (bookkeeping, receptionist, data entry etc.). If you are an experienced music industry professional looking for a job, check out Music Row Search (www.musicrowsearch.com), a music-industry-based employment firm owned by Tom Truitt.
Internships – There are many college interns working for free (for college credits) or a minimal salary in the music business. The music business depends on them. Even many independent artists have their own interns – students who want to learn how the business works from a serious artist’s perspective.
Avoid getting ripped off in all areas – Here’s a checklist of ways to avoid getting ripped off: Ask for referrals to reputable vendors and service providers. Ask for and check references. o There are many people calling themselves ‘music industry consultants’ and ‘songwriting consultants’ right now. Many used to work with or for the major labels, but that work has dried up. Not all of them know the indie music market. Again, if you need a consultant, ask for a referral to a reputable one! Use a reputable entertainment attorney for all contracts. Ask for referrals to a good one. Check with the Songwriters Guild before signing a songwriting contract. Check with the Better Business Bureau about any company you plan on dealing with. Find a mentor who knows the ins and outs of the industry. Don’t believe everything you read in online forums – ask people in the know. Be realistic. If it sounds too good to be true, it probably is. Know your strengths and weaknesses. Get honest critiques. Put your ego aside. Treat your career like a business, not a hobby. Legally protect your trademarks (name, logo), copyrights (songs, masters) Always get everything in writing – e.g. co-writing agreements, cost for recording before you start, work for hire agreements from studio musicians, singers, producers and engineer, photographer, videographer and anyone else involved in the creation of intellectual property. Key Contacts
Vinny Ribas CEO of Indie Connect [email protected] 615-568-4736 www.indieconnect.com www.indieconnect.net - social network
Judy Rodman World Renowned Vocal Instructor [email protected] www.JudyRodman.com
Media Design Service Music and EPK Video Production [email protected]
Marc Alan Barnette Industry Consultant Conducts ‘Songwriting Tours’ [email protected] www.marcalanbarnette.com
Nancy Moran Indie Artist / Music Consultant Co-Owner of Azalea Productions (recording studio) www.nancymoran.com www.azaleamusic.com
About Indie Connect: Do you need industry connections, ranging from musicians to producers to publishers to marketing experts and more? Do you need to learn more about the various aspects of being successful in the music industry (getting gigs, performing, marketing, recording, songwriting, business etc.)? If any of these is true, then we are here to help.
Indie Connect is a unique, member-based club/trade organization for the independent music industry. Our website is packed with useful videos, articles, tools and resources - www.indieconnect.com. We also provide.
Workshops, seminars and conferences. Member discounts on special events, as well as from local and national industry-related partners. An online community where everyone helps each other. Artist management Artist development Artist and music industry consulting www.indieconnect.com