It’s never been easier to get your music heard by a wide audience. Thousands of websites and apps can help you share your songs with other musicians, fans, and industry professionals. But the best way to connect with an artist is still through one-on-one communication. If you’re looking for tips on how to make that happen, read on!
The best way to get a song to an artist is by catching them live. They can be performing at a show, festival, gig, awards ceremony, event, or concert. Just be sure that you’re there when they are performing and make sure they notice your song. Here’s how:
The first way to pitch a song to an artist is by playing it for them in a studio. While this is the best method, it’s not always possible because some artists work out of home studios or private studios that don’t allow outsiders to enter. If you’re lucky enough to get invited into the studio while working on new material, make sure you play your song only after they’ve had time to finish their current project.
If you can’t get into their recording space, try playing your music at another location where they usually hang out: bars/clubs (but not if they’re performing), hotels (but not if they’re staying there), parks, and other public places where people might be hanging out listening to live music.
If you have a song you think would be great for an artist, contact them through their social media. In the age of social media, it should be easy to find out how to get in touch with an artist through Instagram or Twitter. You can then send them a link to your song and see if they like it! Don’t be afraid most artists are happy when fans reach out with their music. Some artists even welcome submissions from aspiring producers looking for a chance at working together (I know I did).
Just remember that not everyone is going to respond in fact, most won’t respond at all! That’s okay though; just keep trying until you find someone who loves your music as much as you do!
You’ve heard the saying, “it’s not what you know, it’s who you know.” That’s true in so many respects, but especially when it comes to getting your music recorded by an artist. You need to make sure your song is good and that you’re pitching the right song to the right artist.
For example, I recently wrote a song called “Haunting” which my friend Jayme King wanted to record on her upcoming album. I sent her a copy of the demo (the recording of my voice singing over acoustic guitar) and she liked it! She said she wanted to change some lyrics here and there as well as add some harmonies in certain places. When I asked if she wanted me there when she recorded it, her response was no because she didn’t want any distractions from me being on set; however, if any changes after recording needed input from me then I would be welcome back at Studio B Studios anytime!
If you want to pitch your song to an artist, you need to be creative. This can mean doing things like sending them a demo or playing it live at their shows. Don’t forget that social media is also a great way of getting in touch with the right people!
Congratulations on publishing your music on Spotify. The next step is to make sure the release is successful! That means getting into playlists and being discovered by new listeners. To do this, you’ll need to understand how the Spotify for Artists reporting dashboard works. First off, here’s what happens when your release goes live:
To accept the terms of your agreement, you will need a Spotify account. You will receive an email with a link to accept the terms of the agreement when it is available. You must click on this link to accept the terms of your release. If you do not accept the terms of your release, you will no longer be able to stream music on Spotify.
Within 24 hours of accepting your contract, you will receive a confirmation email that your release has been successfully delivered. This email will also contain an online portal where you can check whether reports are showing numbers for your release. If reports are not present, then your release has not yet been published on Spotify. It can take up to two weeks for finished releases to become available depending on your release date choice.
As soon as you accept the contract, your release will be sent to Spotify. It takes between 2-3 days for your freedom to appear in the dashboard. The dashboard is updated every 24 hours, so if you don’t see numbers within a few days of accepting the contract then it’s likely that something went wrong with delivery or processing.
Not all members can see reports on their releases. Only artists and producers can access this information, not managers or labels (unless they are also artists). If someone has given you access to their account but doesn’t want people to know where they live, then don’t worry! They’ll still be able to log into their own Spotify account and keep everything private from others using it too (just make sure not everyone knows how many times someone else has listened).
Depending on how many days have passed since your release was published on Spotify, you may or may not see any activity reflected in the reports (listening activity, playlist adds/removals, statistics). To begin viewing listening data, filter by this week’s date. The reporting dashboard will update every 24 hours with new data, so you can return tomorrow to view new information. Please note that streaming data takes approximately 2-3 days to appear in the Spotify for Artists dashboard.
Depending on how many days have passed since your release was published on Spotify, you may or may not see any activity reflected in the reports (listening activity, playlist adds/removals, statistics). To begin viewing listening data, filter by this week’s date. The reporting dashboard will update every 24 hours with new data, so you can return tomorrow to view new information. Please note that streaming data takes approximately 2-3 days to appear in the Spotify for Artists dashboard.
Spotify has a two-week lag in reporting and will not report on the listening activity until two weeks after a release is published. As well as this delay, there is also no way to know if your track got added or removed from playlists at all unless you check them manually or receive an email from the curators of those playlists themselves!
It’s important to read the papers you receive because they contain important information about your release. After you submit a new release through Spotify, you will receive an email with a link to accept the terms of the agreement. Once accepted, within 24 hours of accepting your contract, you will receive a confirmation email from Spotify confirming that they have received it and that it has been added to their platform. If possible (and if it doesn’t violate any terms), try listening to your track on Spotify after submitting it and before signing anything!
If you have any questions about your contract or the process of releasing it on Spotify, please don’t hesitate to contact us at support@spotifyforartists.com We are here to help!
If you’re a musician, producer, or just someone who likes to sing in the shower, then you’ve probably wondered: How do songs get popular? It turns out there’s no single answer. A song can become popular through a combination of factors that include its sound and structure, how it’s presented (via video or audio recording), its popularity among social media influencers, and more. But if you want to know what makes your favorite song tick and maybe even help yours become an international hit—here are some things that matter most.
First of all, there’s the music video.
A music video is a short film that features the artist and their song. It’s usually pretty cool to watch! But it also serves a very important purpose: getting a song popular.
The reason for this is simply a lot of people don’t buy albums anymore, so if you’re an up-and-coming artist who wants to reach your audience as efficiently as possible, you have to make sure that people have heard your songs before they even think about buying them. And how do they hear them? Well…through radio stations! But there are only so many times you can play one song on the radio before everyone gets sick of it. So what do you do? You release an album full of songs (and hope they get played), but more importantly…you release a music video filled with all those same tracks! As long as someone watches one video while they’re scrolling through YouTube or another type of media platform (probably Vevo), then chances are good that they’ll become interested in buying something from that artist’s catalog or at least listening more closely next time around.
This is why music videos are so important to artists they’re a way to connect with your audience, give them something entertaining and interesting to watch (and listen to), and help promote your new release. Whether it’s a simple performance video or something more elaborate with lots of special effects, there are numerous ways that artists have used their music videos as an effective tool for promoting their albums.
But that’s expensive, and clips on YouTube or Facebook make it easy to learn dance moves at home. You can hear the song, and see what the dancer is doing. It’s a good way to get a feel for the song before buying it.
Wizkid, for example, is a Nigerian artist whose songs are known to be simple. He often just sings about love and relationships, but he does so in a way that makes it easy to sing along. His music has been described as “the kind of stuff you can dance to at home on your own or with friends.” And though there’s no denying that Whizkid’s songs are catchy (he averages over 50 million views per video), they’re also well-crafted; they’re not overly complicated in any way. They’re very much “the type of thing where kids can listen to them but also adults.
The same goes for other artists who have achieved success through more straightforward approaches: Drake has been known to avoid overly dense lyricism his raps tend toward being easygoing declarations of love or celebrations of friendship over struggling with mental illness. The point here is that sometimes getting people hooked on your work means making sure it feels accessible from the beginning, even if listeners don’t understand every lyric you’ve written or every reference you’ve made in each song, there’s still enough going on within each piece that keeps them engaged with the material itself and wanting more. That’s why it’s important to keep your audience in mind when writing lyrics; if you’re creating something that will be consumed by people who aren’t professional musicians themselves, then you need to make sure there are no barriers between them and enjoying the music.
If you have a song with lots of “Fs” that are hard to sing, start a little lower. If it’s too high, people will sing the wrong words. If you start too low, people won’t be able to hear the words. Just worry about singing along and don’t worry about your range; just sing the song as you hear it.
If you have trouble singing along with some of the songs, try singing the chorus instead. Usually, a chorus is easy to match your voice to because it repeats over and over again. If you’re still having trouble, just ask someone else to sing along with you.
The simple answer to that question is that people love belting out pop songs in the shower, often when they’re feeling sad. It’s easy to understand why this happens: Showering tends to be a private experience where you can let down your guard and indulge yourself in whatever music you want. The soundproof walls of your bathroom allow for uninhibited singing that doesn’t need to compete with other sounds or worry about getting overheard by others and it’s also an excellent way to relieve stress, as one study found that 80% of people feel better after singing their favorite song in the shower (compared with playing sports).
On the other hand, some artists are wary about underestimating their audience. “I’m always trying to avoid writing things that are too complex for a general audience,” says singer-songwriter Nan Goldin. “I don’t want people to have to think too much.” Others worry about overthinking: “You can make a song too complicated by thinking about it too much.”
Singer-songwriter Patti Smith does not write songs with standard lyrics like love or heartbreak because she believes that these concepts are overdone and cliche. Instead, she prefers themes such as nature and childlike joy, which she feels offer more depth than typical pop songs. Similarly, John Lennon once said he wanted his music to be both simple enough for children and deep enough for adults; he believed this was the key to popularity among all ages!
This is a common concern among songwriters. The most popular songs, such as “Essence” by Wizkid ft Tems or “Ye” by Burna Boy, are catchy enough to stick in your head and easy to sing along with but still convey deep themes.
One of the biggest challenges for musicians is understanding how listeners process a song. It’s important to realize that people don’t always know what they like and that they are likely to listen to a song many times before deciding whether they like it. It can be especially hard for artists who have only released one or two songs, because listeners may not have enough context to determine if something new is good or bad. Artists should also keep in mind that people process music differently some people might like the lyrics more than the beat, while others might focus more on how catchy a song sounds when they hear it on the radio.
In the early days of commercial radio, listeners had to wait for their favorite songs to come on. Nowadays, with streaming services like Spotify and Apple Music, when you hear a song you like, you can just tap play again. The brain needs time to process music and it’s not just about hearing it once. Most people need around 30 or 40 exposures before they decide whether they like a song enough to add it to their playlist or share it on social media. The more times we hear something (even if we don’t consciously register this repetition), the more familiar we become with it, and familiarity increases liking because our brains prefer things that are familiar over those that are new and different.
The reason we tend to like things more when they’re familiar is because of a psychological phenomenon called the mere-exposure effect. In short, it means that the more times you see or hear something (even if you don’t consciously register this repetition), the more familiar
Sometimes, what listeners say they like isn’t the same thing they listen to. In other words, the preferences of a listener can be a little bit different than his or her actual listening history. This is because humans are creatures of habit and like familiarity the more we hear something, the more comfortable it becomes with us over time. It’s one reason why so many people own multiple versions of the same album by an artist: because we don’t want to have to relearn any new information each time we play an album!
The result is that sometimes random things become popular because people discover them through friends or online communities where everyone agrees on their merits (or lack thereof). Or perhaps there’s just some sort of consensus about what makes a good song so much so that everyone goes along with it despite not liking it themselves
In either case, our listening habits are often more about what other people think is good than what we like ourselves.
The song has to be catchy and easy to remember. If people can’t sing along or repeat the lyrics, it’s unlikely that they will ever think of this song again even if they enjoyed it while they were listening to it at first. The beat needs to be strong and steady so that people can dance along with it whenever they hear the music playing in their head or on a radio station.
And there you have it. A lot of people think that being popular is about luck or talent, but the truth is that it’s more complicated than that. It takes a lot of work and careful consideration to make something that people want to listen to over and over again. But with these tips in mind, you can be sure that your song will reach listeners around the world!
The music industry is full of professionals with different roles and responsibilities. If you’ve been on the road, playing gigs, releasing albums, or even just listening to music, then you’ve probably run into some of these folks:
A&R stands for Artists and Repertoire. A&R is the department of a record label that searches for new talent and signs artists to contracts. A&R people work with artists to develop their sound, style, and image. They also help artists decide which songs will be on their albums and what those songs should sound like; this process is called “song selection” or “songwriting” (as in “I wrote this song with my band).
There are many different kinds of managers, and each fulfills a specific role in your career. First, let’s be clear: a manager is not an accountant or lawyer; he or she does not do taxes for you or help you write a will. A manager is also not typically the publicist who runs around town trying to find press opportunities for you (though some do). A manager doesn’t book shows for your band or act as an agent at booking agencies (though some do). Finally, while some managers have experience publishing music and can help guide writers through that process, they won’t handle any of the paperwork associated with getting your book out there into the world.
In short, managers are businesspeople who specialize in working with artists like yourself, not accountants or lawyers and their job is to ensure that all aspects of your career run smoothly so that you can focus on what matters: making great art!
A marketing firm is a company that provides services to help artists market themselves effectively. The main difference between a marketing firm and other types of service providers like managers, publicists, or booking agents is that they are not involved in the creative process. They can be involved in the creative process, but it’s not their focus. Their focus is on marketing and promotion for artists who already have something created for them (a song or album). They’re usually hired by the artist rather than the other way around, this means if you’re looking for someone to help you grow your career as an artist, start thinking about how to promote yourself rather than planning on finding someone else who will do it for you!
A booking agent is a third party who helps artists find gigs, often with venues that are willing to pay the artist a fee to perform. Booking agents work on behalf of their clients and are responsible for providing those clients with an income by connecting them with opportunities where they can make money through performance.
Booking agents work closely with venue owners and promoters interested in working with artists. They negotiate terms of payment (how much the venue will pay) and other details regarding the performance (time slots, equipment needs, etc.). If you’re an artist trying to get booked at local bars or coffee shops around town, your booking agent will be responsible for organizing those gigs for you!
A publicist is a person who helps you manage your public image, which includes handling your press coverage and social media presence. They can also help you with things like scheduling interviews, writing press releases, and connecting with other influencers in your industry.
A publisher, who has presumably acquired your book after you’ve submitted it to them, will pay you an advance. Advances are usually paid in two installments: half upon signing the contract and half upon completion of edits or delivery of the manuscript. The amount of advances varies widely by genre and popularity, but it’s common for first-time authors to receive $10-20K as an advance on their book (this amount can increase with subsequent contracts). The royalty rate is how much money the author receives per unit sold after deducting the cost of printing and other expenses associated with publishing. This rate varies widely between publishers some offer royalties as high as 15% while others offer less than 5%. Royalties are paid once a year in January based on sales during the previous calendar year; if you sell more copies during that period than expected, then your royalty check will be larger too!
As you can see, there is a lot to consider when choosing the right partner for your project. The most important thing to remember is that it’s OK if this process takes time and effort. You need to be sure that the person you choose will help you grow as an artist as well as take care of business in all areas of your career.
When you find someone who fits with your style and vision, they’ll make all the difference in taking your career to new heights!
The music industry is complicated, and it can be difficult to know where to start when you’re trying to break into it. We hope that this blog post has given you a clearer understanding of how these different jobs work together in today’s world of music. If any questions are left unanswered, please feel free to contact us at our website or give us a call so we can help answer them!
The music industry is a cutthroat business. If you’re not on top of your game, you’ll find yourself behind the curve. So what skills do you need to be successful as an A&R? In this post, we’ll look at some of the most important qualities, plus how they relate to your career in music:
Analytical skills are the ability to solve problems and make decisions based on information. These skills can be developed over time through experience and training. Analytical skills can also be used in a variety of situations, such as in business, government, and education. Analytical skills are important because they allow people to make decisions based on facts rather than emotions. They can also help people learn new things by breaking down complex concepts into manageable parts.
You should be able to understand the business and its dynamics, negotiate with artists and their managers, negotiate with music publishers, negotiate with music producers (if you’re at a label), and so on. This is where most people’s minds go blank when considering A&R jobs—they don’t know what it means to be a good negotiator or how to actually do it. For example: how do you negotiate with an artist? Do you tell them what they should get paid? Or maybe let them dictate terms based on market value? The answer is somewhere in between those two extremes. In general, there are three types of negotiation tactics that can help:
The best negotiators use all three of these tactics, but generally focus on soft power in the beginning, hard power for difficult situations, and win-win scenarios to close out deals.
If you’re an A&R person, you’ll need to talk to a lot of people. You’ll be talking about things like how certain songs feel, what your vision is for the album, and how much money the band needs to make it through the recording process (it’s more than they think). The ability to communicate effectively with others is crucial for any job in music but it’s especially important for A&R. When someone tells you that you should sign a band because their new single is “a little bit punk,” you should be able to understand what that means. You also need to be able to convey your own thoughts and ideas clearly so others can act on them appropriately and so everyone knows what’s going on at all times!
So, you want to be an A&R person. Great! You’re about to embark on a journey of excitement and discovery. But before you begin your journey, there are some things you should know:
When people talk about being an A&R person, they’re referring to the job of identifying and developing new talent for a record company. An A&R professional will listen to the music submitted by artists or their managers, then decide whether or not it’s good enough to be released through their label. They’ll also sign producers in order to produce tracks for these acts. In short, they’re responsible for finding the next big thing in music whether that’s an artist who can sing well and write songs or someone who has an amazing studio setup with killer beats (like Max Martin).
But that’s not all: A&R professionals also need to be able to run a business, because they have to make sure their acts are being paid properly and that they’re making enough money for everyone involved. This means having an understanding of contracts, royalties, and licensing and knowing how to use them effectively in order to get what you want.
Let’s face it: you’re not going to be doing much listening if you can’t hear anything. This is where your hearing comes in, and we mean both the literal sense of hearing and the figurative sense as well. So, having good ears is important for an A&R person but so are good eyes.
You’ll need to make quick decisions based on what you see and hear and those decisions must always lead to success. It’s not just about making a record; it’s also about signing talent (or deciding against signing them) so that your label can continue operating smoothly and profitably.
The best A&Rs are able to multitask and switch between projects quickly and efficiently. They know how to stay focused on the task at hand, so they don’t get distracted by emails or calls from other people in their office. They also have a good sense of time management, so they can prioritize tasks effectively. This comes in handy when you’re dealing with multiple artists who all want your attention at the same time which is one reason why being an A&R is such a tough job!
Networking is a skill that can be learned. And it’s a skill that is incredibly important to the A&R job. You need to have the ability to network with people, because depending on your role at the label, you may be in charge of finding new artists or employees for your company.
There are many different ways networking can help you in your day-to-day work as an A&R rep:
Organizational skills are a huge part of being an A&R person. If you don’t understand the importance of organization, then you can’t be successful as an A&R person. The organization is about time management and prioritizing tasks; it’s also about setting goals, which is just as important as prioritizing tasks because without goals, how will you know where to start? And finally, the organization is about being efficient in your work so that when someone comes to ask you what happened to that project they gave you three weeks ago which they haven’t seen yet you don’t have to say “I forgot.”
People management and negotiating skills are a must for every A&R rep. You’re not just in charge of signing new artists you also have to work with them, helping them grow as artists and working together to figure out what songs will be on their albums. And that means working with lots of different personalities without losing your cool or getting frustrated. You may also have to negotiate with labels and other A&R reps about who gets the best songs from an artist, who gets the first chance at signing them, etc., so you need to be able to handle these situations calmly and professionally while still getting what you want out of it.
The bottom line: being an A&R rep is all about people management, whether it comes down to making sure everyone on your team has everything they need (or want) or negotiating with artists over contracts and song choices.
You need good business and analytical skills for A&R in Nigeria.