It used to be that every writer would write songs, do rudimentary, work tapes, with an acoustic guitar, or piano, and be able to wander around the vaunted halls of publishing offices, playing either live, or their “tapes” (that’s how long ago that was), and artists, producers, or labels would hea
So you get invited to a party in the music business, or a conference/workshop, a #1 party or other music industry function and you want to do the right things at these events, but what are they?
I’m in my eighteenth year of teaching BMI’s Nashville Songwriters’ Workshop. In those classes I’ve listened to 40 to 50 songs at least 10 times a year.
I continually talk about KEEPING IT REAL when it comes to approaching the music industry. Most people who come into this really have very little idea of what is achievable and what is improbable.
Throughout my 20 years as a professional songwriter, I’ve noticed there isn’t always a large difference in talent level among creative people. Why, then do some songwriters seem to have an over abundance of fans buying their music while others struggle to sell the first song?
I walked into my first writers round on my very first trip to Nashville eighteen years ago. There were four songwriters on stage in a line, and everyone was playing and singing together. I loved the energy and the way everyone's participation lifted the song.
Something I have always noticed about new writers and artists as they make their pilgrimages to Twang Town is that they ALL FEEL LIKE THEY HAVE BEEN DRIVEN TO DO THIS! And there is validity in that.
Question:” Do you know the difference between a six week old puppy and a songwriter/artist/anyone trying to be involved in this business?”
Answer: “Eventually the puppy stops whining.”
