'Insiders' Da Indústria Da Música Dão Dicas Para Os Compositores Que Querem Navegar Nos Negócios

Industry Insiders Share Tips for Songwriters on Navigating the Music Business

The pathway to success in the music industry is rarely as simple as just being a good songwriter, gifted singer or accomplished producer. To reach certain heights, you need to surround yourself with the right support and place your trust in savvy representation. Having smart support on your side can make all the difference between struggling in obscurity and gaining access to the shot that gets your music heard on a whole different level and gives your career a serious boost.

But what should an aspiring artist look for in these crucial roles? What are the key traits that indicate that a prospective representative is the right fit for your aspirations in the music industry?

To solve this crucial quandary, BMI’s Senior Director, Creative, Jessa Gelt sought out the expertise of two veritable movers and shakers in high profile management and A&R, Dan Petel and Evan Taubenfeld. As the founder of This is Noise Management, Petel counts an impressive roster of hitmakers under his representation. Collectively, his clients are responsible for over seven #1 hits and have over 26 gold and platinum singles. Additionally, in the last two years, This is Noise clients have accumulated nine BMI Pop, Urban and London Awards. Taubenfeld, meanwhile, is the head of A&R Crush Music and oversees management of its producer/writer roster and publishing operations. Some of his clients include Sia, Lorde, Train, Fall Out Boy, Weezer, Panic At The Disco, Lykke Li and Green Day. Prior to his career in A&R, Taubenfeld was an artist in his own right and a lead guitarist and collaborator for Avril Lavigne.

With that combined wealth of experience, Petel and Taubenfeld sat down with Gelt to shed some light on what to focus on when looking for representation.

Jessa Gelt: How does one know when it’s the right time for management, publisher, attorney, and when to build out the team in the development of artistry and songwriting?

Dan Petel: While everyone’s situation is different, I think the right time to add a team member is when you are so overwhelmed with the “business” you can no longer focus on the creative.

Evan Taubenfeld: Get a manager when you find someone who will tell you the truth, who you trust implicitly and who you’ll actually listen to. He or she will tell you when to get a lawyer or publisher since your situation is different from everyone else’s.

JG: It seems to me that choosing a manager is an essential consideration to the career growth for a writer or producer. From your experiences, what are some key aspects that one should look for?

DP: Your manager is an extension of you and your business. Find someone who is passionate about your music and has the knowledge and experience to represent you. It’s also important to find a manager that is honest and objective with you about your music, someone who will provide necessary criticism when you need it.

ET: Honesty, patience, kindness, diligence, humility. Also, it doesn’t hurt if they have a ton of leverage.

JG: In the early stages of one’s career, do you have any advice for someone who is self-managed? 

DP: Educate yourself as much as possible on the business and ask questions. I would much rather deal with a self-managed songwriter who asks questions as opposed to the one that pretends they know what they are doing.

ET: Keep yourself honest. Ask yourself the questions you’d want them to ask you, and look in the mirror and answer honestly. Advertise yourself not with hustle or networking but with your music. Writing one great song is better than telling ten thousand people you can write a great song.

JG: What are some of the biggest misconceptions of the manager role?

DP: Managers will not single-handedly make you successful. I meet so many songwriters who think if they had the right manager representing them, they would be all over the charts. Your success will ultimately be up you and your skill as a songwriter.

ET: That there is a magic button that can make someone massively successful. The truth is that all of our artists make themselves successful; we’re just here to make sure it takes the least amount of time possible, and lasts as long as possible.

JG: If you had to think back over the course of your professional career, is there a mistake you made or something you wish you knew then, that you know now that impacted the direction of your career?

DP: I would say it was trusting the wrong people and not trusting the right ones. Don’t put too much stock into people who talk a big game.

ET: I would have focused more on the heart and less on the head.

JG: What is the first piece of advice you would give someone starting out as a songwriter?

DP: Be realistic about your music. Too many songwriters think the first song they write is the best song in the world. Realize that, for many, it takes years of writing hundreds of songs to have any success. I was ultimately realistic with myself, and realized I was not a great songwriter. That decision led me to my role as a manager, and It couldn’t have worked out any better for me.

ET: Write from your heart and don’t chase. Don’t worry about hits, singles, money, charts or what everyone else is doing. You are on your own path and if you make truly great music, then all will work out.

JG: Any advice you can give to an up-and-coming writer or producer when headed into the studio?

DP: I think it’s really important to make sure you leave your ego out of the studio. A successful session isn’t about how many of your ideas you can cram into a song, it’s about coming away with a great song, regardless of who contributed more to it.

ET: Check your ego. The point of a great collaboration is to complement the other writers/artists in the room, and have the sum be greater than the parts. You only hurt yourself if/when you act like a jerk or shut off other people from allowing their ideas to be heard.

JG: Where do you see songwriting headed and from your perspective, what shifts have taken place?

DP: I feel creatively the industry is taking more chances. There’s more music being put out than ever before, and more opportunities for different kinds of music to enjoy mainstream success.

ET: I think we’re going to see people stop chasing as much and start innovating a bunch more. There’s already too many good songs, no one needs any average songs, so the demand for truly exceptional, magical moments – which only come from taking chances, being sincere, candid, etc. – will lead to better and better music.

JG: What’s your most essential ingredient for songwriting?

DP: Being genuine. Everyone I know that’s having success in our industry writes music that’s genuinely meaningful to themselves and accessible to others.

ET: Sincerity.

JG: If you could change one aspect of the music industry, what would it be?

DP: There is still unfortunately a lack of appreciation and compensation for the creatives in our industry. I would like to see the ones that are creating all this amazing music be rewarded more fairly for their work.

ET: I’d eliminate the people who don’t add value or only care about their own personal gains/goals. There’s little room left for them already.

JG: What is the most challenging part of your job?

DP: I would have to say it’s just keeping up with all the new artists, songwriters and producers. There is so much new talent out there that it often becomes overwhelming trying to stay on top of everyone.

ET: Keeping egos – mine included – out of the equation, so we can make sure we’re solely focused on what’s best for our artists.

JG: Any key lessons you’ve walked away with?

DP: Treat everyone with respect. The office assistant will one day be running the company, the developing producer will have songs all over the charts. Regardless of creative or business differences, if you treat people with respect, they will continue to want to collaborate with you, and take your calls.

ET: Whether you like all of your peers or not, the truth is that they’re coming with you for the next 40-50 years. Be nice to everyone, and root for everyone, because the business is so small, we’re all really on the same team now.

JG: What do you love most about your job?

DP: I love being a part of a song’s journey the most. It’s such an amazing thing to watch a song go from a demo mp3 you get late at night in your inbox to being a song people dance to at a wedding, sing along to at concerts and hear all over radio. Is just such rewarding process to be a part of.

ET: Half of my childhood heroes are now calling my phone every day.

Video - Fazendo A Música Do Vídeo Game 'Doom'

Video: Making the music of Doom

Released last year, id Games' latest Doom earned a variety of plaudits from players, critics, and devs, including a fair bit of praise for its earnest, over-the-top soundtrack.

To shed light on how it was made, at GDC 2017 composer Mick Gordon offered up a behind-the-scenes look at the compositional process, production techniques and creative philosophies that went into scoring the game.

Specifically, Gordon reflected on how to best create a high-energy soundtrack that complements a game's core design without drowning it out. Covering musical sound design, synthesis techniques, compositional approach, interactive music, mixing, and working remotely, his talk was both practical and engaging.

If you didn't get to see it in person (or just want to refresh yourself) you can now watch Gordon's talk for free on the official GDC YouTube channel!

About the GDC Vault

In addition to this presentation, the GDC Vault and its new YouTube channel offers numerous other free videos, audio recordings, and slides from many of the recent Game Developers Conference events, and the service offers even more members-only content for GDC Vault subscribers.

Those who purchased All Access passes to recent events like GDC, GDC Europe, and GDC Next already have full access to GDC Vault, and interested parties can apply for the individual subscription via a GDC Vault subscription page. Group subscriptions are also available: game-related schools and development studios who sign up for GDC Vault Studio Subscriptions can receive access for their entire office or company by contacting staff via the GDC Vault group subscription page. Finally, current subscribers with access issues can contact GDC Vault technical support.

Porque O Áudio Está Ganhado Notariedade E Como As Companhias Estão Ganhando Com Isso

Why Audio Is Exploding And How Companies Are Monetizing It

These questions originally appeared on Quora - the place to gain and share knowledge, empowering people to learn from others and better understand the world.

Answers by Michael Mignano, CEO and Co-founder, Anchor, on Quora:

Q: What is driving the growth in audio and podcasting now?

A: Thanks to smartphones, digital audio is exploding. Sixty-one percent of Americans listen to digital radio monthly, and nearly a quarter listen to podcasts monthly. And with some of the biggest companies in the world investing in smart speakers, microphones, and content, audio and voice will only become more popular in the coming years. Audio is great because it saves you time, and with the onslaught of content constantly at our fingertips, consumers are turning to it for efficiency. Companies and investors know this, and we’re all working to build products that fill the needs of these listeners - ideally before they even know what those needs are.

Q: As a social medium, how does audio compare to video? Do you think audio has the same potential that video does for reaching and engaging audiences?

A: It’s been interesting to see the rise of video and how it’s used in everyday life, especially since it’s arguably the most involved medium that requires the most attention since includes visuals, movement and audio. For years companies like Apple and Samsung have been touting their camera quality, but it’s pretty rare that they reference how audio has improved. One thing I take away from this is simply what a visual society we live in, but it’s also been a major marketing push from companies that want to invest in video.

Conversely, audio made a rise of its own and has consistently been one of the top ways people in the U.S. get their news and music. I personally would argue that the biggest factor here is that audio is the most versatile medium - it takes little active effort to listen to something, but there’s still amazing potential for learning and retention. We can see its prevalence every day simply based on how many people are walking around with headphones on, and similarly to the trajectory of video, content creators and advertisers are catching on to the best ways to use the medium to their advantage and engage listeners through sound.

Q: How is audio content being monetized in today's market (2017)?

A: The opportunities are really wide open. There are many models to explore, most of which have been tried and tested in the context of other mediums: subscriptions, ad-supported content, even allowing fans to tip creators or pre-order products to fund their work. There’s already a lot of movement toward advertising on podcasts (between 2015 and 2016, podcast ads grew at a rate of 72%), and we think a content model that encourages more short-form, interactive work also opens up new opportunities for allowing creators to make money. This might be directly from their audience, or through the platform - it’s something we’re thinking about a lot at Anchor, as monetization for creators is a big part of our mission.

I anticipate that over the next few years we’ll see the industry try a number of things, and it’s not likely that there will be a one-size-fits-all solution for every service or even every creator.

These questions originally appeared on Quora - the place to gain and share knowledge, empowering people to learn from others and better understand the world. You can follow Quora on Twitter, Facebook, and Google+. More questions:

• Entrepreneurship: What should first-time entrepreneurs know that can help them on the road to success?
• Mobile Applications: What are the challenges of building an app that appeals to a wide variety of users?
• Podcasts: How should a fledgling podcast go about building an audience?

Items Que Ajudam Os Músicos Que Estão Sempre Em Movimento

Items To Make The Motoring Musicians' Life Easier

First of all thanks to Josh Max  for this article.

Paul McCartney, Sting and Sheryl Crow have helpers who load and transport their instruments, amps and clothing. Everyone else has to get creative with equipment and travel. Here's some space-saving gear for the rolling musician.

Gibson Blues King acoustic guitar $2,349

Gibson

Gibson Blues King Acoustic Guitar

Not only does this finely crafted instrument by a legendary guitar maker produce a beautiful tone, it's one of the few smaller-sized acoustic guitars that barely raise a squawk from airline gate agents and flight attendants, so you can (usually) slip it in the overhead compartment without much fuss. Its distinctive “L-series” design comes from the early 1900s and it's a favorite among jazz, blues and roots guitarists.

Yamaha SVB-200 Silent Bass $3,899

Yamaha

Yamaha SVB-200

Face it, nothing's going to compare soundwise to your full-size, vintage double bass. But for bassists on the go with little room to spare, Yamaha's SVB-200 delivers a detachable frame, a body made of spruce and mahogany and a neck of maple, dual piezo pickups and a sleek gig bag. Its sound, for its size, is mighty-mighty, and you'll be glad at the end of the gig to pack up and be on your way lickety-split.

iRig Mic HD 2 $129.00

iRig 

iRig Mic HD 2

While it lacks the tried-and-true road reputation of, say, a Shure SM-57, the iRig Mic HD 2 is the only handheld mic of its kind featuring high-quality 24-bit converters with sample rates up to 96kHz, a low noise preamp, a high-quality gold-sputtered electret condenser capsule for exceptional frequency and transient response and an onboard dedicated headphone output with volume control for direct signal monitoring. Offering unmatched quality and versatility at an affordable price, iRig Mic HD 2 comes with all the cables and accessories needed in a variety of situations, as well as a convenient table tripod for use during interviews, calls or video conferences.

Hartke HD112 Bass cabinet $399.99

Hartke

Hartke HD 112

This little speaker packs a mighty punch, and it's compact enough to fit small vehicles and light enough to carry up flights of stairs. It features a single 12-inch 300 watt HyDrive neodymium hybrid cone drive as well as a 1-inch titanium high frequency compression driver. It also looks particularly cool with its steel grill, inset side handles, high-quality plywood with extensive bracing and dado joinery. Its rugged, road-worthy construction is capable of withstanding prolonged abuse that is typically brought on by gigging.

Belk “Rockland Stage Coach” 20-inch rolling trunk $119.99

Belk

Belk "Rockland Stage Coach" 20-inch rolling trunk

Musicians sometimes get so tied up with gear that they neglect personal things like clothing, cosmetics, deodorant and a place to store their valuables while they're up on stage. This vintage-inspired rolling trunk, unmistakable amongst your other gear, will neatly handle all your personal stuff.  Four full rotation wheels make navigation effortless through crowds, and it's made of “ABS” which provides impact resistance and toughness for long time use and handling. Its corners are wrapped in PVC for additional protection. It also comes with a 5-year warranty and can be cleaned with a damp cloth.

Os Americanos Estão Escutando Muito Mais Música Agora Do Que Antes

Americans Are Spending More Time Listening To Music Than Ever Before

First of all thanks to Hugh McIntyre for this article.

Streaming has changed not only the music industry and how it functions, but also the lives of everyday people. Now, simply by signing up to platforms like Spotify, Apple Music, Pandora, iHeartRadio or any of the dozens of other streaming offerings out there, millions of people can discover tunes that might not otherwise have reached them, stay on top of what’s just been released and listen to as much music as they want. It seems that many are indulging in that last option, and now, Americans are spending more time listening to music than ever before.

According to a new report released by Nielsen Music, on average, Americans now spend just slightly more than 32 hours a week listening to music. That’s an incredible figure, and it shows significant growth from even just the past two years. In 2016, Americans listened to an average of 26.6 hours of music per week, while the year prior, it was just 23.5 hours. 

The trend shows massive gains from year to year, with the average expanding by several hours every 12 months. While some interactions with forms of media are measured in minutes, Americans now listen to almost a day and a half of music every week, which shows that they have songs, albums and playlists streaming throughout the day, and that they now incorporate music in many different parts of their life. The upswing isn’t likely to stop growing, but how many more hours per week can people have music playing?

While the actual figure is massive and somewhat shocking, it’s not actually too surprising that the amount of time Americans spend playing music itself is growing, as the number of songs being played is also rising. While one doesn’t necessarily mean the other is happening, this country is seeing streaming grow all aspects of music consumption. 

At 2017’s mid-year mark, Americans had hit play on 184 billion songs on on-demand streaming outlets like Spotify and Apple Music. That’s up an incredible 62% from the same period a year before. The major players in the space have all added millions of users over the past several months, and they'll continue to pad their subscriber bases as time goes on.

These figures show that not only are more people listening to more music, they’re spending a lot more time doing so. While that 32 hours per week stat does take into account all forms of music consumption (including radio), streaming is a big part of the story, and since these numbers are all collected digitally, it’s become easier to be more accurate when looking at play counts and time spent tuning into big hits.

Como Realmente Funciona Os 'Royalties' Do Pandora - Guia Completo

How Pandora Royalties Really Work: A Complete Guide [infographic]

How to collect all your royalties for Pandora plays.

What kind of royalties are being generated when someone hears your music on Pandora, and how do you collect them?

Since Pandora has both a non-interactive radio component AND an interactive streaming offering, a single play on Pandora can generate many different kinds of royalties, and the path to collecting those royalties differs depending on how Pandora added your music to their catalog. Understandably, the flow of royalties from the popular streaming service can get confusing fast.

CD Baby wants to make sure you’re set up to collect everything you’re owed, so we created this helpful infographic to show the various kinds of royalties you can earn from Pandora, when they’re each generated, and how you collect them all:

CD Baby Pandora Royalty Artist Payment Infographic

Is there real money being generated from your music on Pandora?

You might have the impression there’s no real money in Pandora. For years they’ve been at the center of a national debate about royalty rates for artists, songwriters, labels, and more — and there’s been a good amount of criticism lobbed at the streaming giant by rights holders (though those criticisms often falsely equate a single play on Pandora that reaches one listener with a single play on terrestrial radio that could reach tens of thousands of listeners or more).

But here’s the thing: for many independent artists, there IS real money in Pandora. We heard from one CD Baby artist recently who is earning upwards of $20,000 per MONTH on the platform, and she’s not “famous” by any stretch. She just happens to own all the rights to her music: she’s the songwriter, publisher, label, principal artist, and performer all wrapped up in one.

Knowing what kind of money your music is generating is important, and as the infographic above illustrates, a play on Pandora can generate a few different kinds of royalties. In this article I want to give a quick summary of what those royalties are, how they’re generated, and where you need to go to collect them all.

The difference between non-interactive and interactive streaming

Non-interactive streaming is what Pandora originally became known for; it’s essentially online radio. Although a Pandora radio user can customize their stations based on their tastes, they can’t choose the exact song they want to hear (the way you might on Spotify or Apple Music). That online radio model is non-interactive; it’s a more passive listening experience.

Interactive streaming, also called on-demand streaming, is when the user chooses exactly what they want to listen to. Again, think Spotify or Apple Music.

To complicate things in your mind though, Pandora HAS gotten into the interactive streaming game too with the launch of Pandora Premium. And Pandora Plus, the ad-free version of their non-interactive radio service, now has a replay function (which DOES generate the royalties associated with interactive streaming that I will list below).

So, in short, the particular royalties you’re entitled to from Pandora depend on how the listener is accessing your music.

Non-interactive plays on Pandora can earn you…

Digital performance royalties

Also sometimes referred to as ‘digital royalties’ or ‘neighboring rights,’ these fees are paid by online, non-interactive service providers such as Pandora for the usage of a particular recorded version of a song. It’s about the recording, not the song itself, so these are NOT publishing royalties.

Unlike publishing royalties (which get paid to publishers and songwriters), digital royalties get paid to:

• Featured artists – 45% gets paid to the primary artist/s (the one whose name is probably on the album cover).
• Non-featured artists – 5% gets paid to a fund for session players, backup musicians, etc.
• The owner of the recording – 50% gets paid to the label or entity that holds the rights to the recording.

For many independent musicians releasing music today, they’re both the featured artist AND the rights holder (label).

But how do you collect digital royalties from plays on Pandora?

1.  The artist portion is paid by Pandora to SoundExchange, a nonprofit organization that collects and distributes digital performance royalties to featured artists and copyright holders. Register with SoundExchange today to collect the artist share of your digital performance royalties!
2. The rights holder portion is paid by Pandora to the distributor of the sound recording. (Hopefully that’s CD Baby 😉 ). Your distributor will then pay those royalties to the owner of the recording.

IMPORTANT NOTE: SoundExchange used to receive BOTH the artist and label shares from Pandora, and you could collect them both from SoundExchange. However, for any directly-licensed music on their service, Pandora now pays the copyright owner’s share of digital performance royalties directly to the artist’s distributor. They do not pay that portion to SoundExchange. 

Even if you opted out of CD Baby’s SoundExchange collection for your releases, Pandora will pay the label share of your digital performance royalties to us as your distributor. You’ll be able to see a full accounting in your CD Baby members section.

Performance royalties (publishing)

Just like with terrestrial radio play, the songwriter and publisher are owed a performance royalty for the broadcast of their music. If you write original songs, you’re owed performance royalties for Pandora plays.

And just like with traditional radio, performance royalties get split:

• 50% to the songwriter/s
• 50% to the publisher/s

If you haven’t signed away your publishing rights, good news: you’re the publisher of your own songs, and you can collect both the writer and publisher shares.

To collect your performance royalties, you need to get affiliated with a performing rights organization such as ASCAP, BMI, or SESAC. CD Baby Pro can help you get set up with a Performing Rights Organization, if you aren’t already, and can be your publishing administrator to make sure your songs are registered so you can collect your performance royalties.

Many performing rights organizations have a way to affiliate yourself as both the writer and the publisher, so you’ll collect both shares. With CD Baby Pro, CD Baby would collect the publisher’s share (50%) of your performance royalties and pass along those royalties to you through your CD Baby account.

CD Baby Pro is worth considering for another big reason though: mechanical royalties. I’ll get into those more below, but it’s important to know that performing rights organizations do NOT collect mechanicals, and they’re almost impossible to claim and collect on your own. So… CD Baby Pro!

Interactive plays through Pandora Premium and replays on Pandora Plus will earn you…

Performance royalties (publishing)

The same royalties I talked about above, owed to songwriters and publishers, are generated from interactive, on-demand streaming. With Pandora Premium, on-demand is an option for Pandora users (for a monthly subscription fee).

Note: Pandora curates its interactive catalog to some degree, so there’s no guarantee that your music will be available on Pandora Premium, even after CD Baby delivers it to them. But of course you want to be ready to collect any royalties your music is generating, so consider signing up for CD Baby Pro, and at the very least affiliate with a P.R.O.

Sound recording license fee

This is the standard payment the owner of the sound recording receives for a stream. It gets paid by Pandora to your distributor. If CD Baby is your distributor, you’ll see it in your accounting along with the details: song title, amount paid, date, date of reporting, etc.

Mechanical royalties (publishing)

Any time a song is mechanically or digitally reproduced (CD, vinyl, download, stream), a mechanical royalty is owed to the publisher.

As I mentioned above, mechanical royalties are almost impossible for you to claim and collect on your own without the help of a publishing administrator.

That’s where CD Baby Pro Publishing Administration comes in. We can help you collect all the publishing royalties you’re owed worldwide — including mechanicals from interactive streams on Pandora.

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As you can see, a single play on Pandora can generate multiple royalties. It’s important to set yourself up to collect them all, from Pandora and countless other music services. Here’s how:

1. Sign up your music for worldwide distribution through CD Baby
2. Register at the same time for CD Baby Pro (or upgrade your older titles) to collect publishing royalties for a range of music uses
3. Choose the P.R.O you’d like to be affiliated with (such as ASCAP or BMI) — or let us know which one you are already with — and CD Baby will then handle the affiliation process and register your songs with collection societies worldwide
4. Submit your music to Pandora to be sure it’s considered for Pandora Radio
5. Register with SoundExchange to collect digital royalties from a range of music services

That may sound like a lot of steps, but this is the really important stuff you have to do ONCE (per release) and then you’re set forever to collect your performance royalties, digital performance royalties, mechanical royalties, and streaming license fees!

3 Coisas Que Você Esta Fazendo Errado No Spotify Como Músico

3 things you’re doing wrong on Spotify as a musician

Are you being held back on Spotify by these three bad habits?

Even as streaming becomes the dominant means of accessing music, the streaming world can still feel like a new frontier to many musicians — and how you get your music noticed on platforms like Spotifyoften defies conventional wisdom (or at least the conventional wisdom of the old music industry).

A recent panel discussion at the BIME conference about “Developing New Artists in the Digital Age” sheds some light on three areas where many musicians are going wrong. I’ll summarize their advice below.

1. You worry about “vanity metrics”

Your play count doesn’t matter if nobody is adding your songs to their playlists or sharing with friends.Just like with YouTube, where average watch-time is more important than views, ENGAGEMENT is key on Spotify.

I’ve seen musicians streaming their own music on repeat to boost their play stats. It’s a bad idea, firstly, because if your user activity is public, we can see you doing it and that just looks lame. Second, you can get penalized for it. One friend even had his music removed from Spotify because they caught him trying to game the system, and I just heard about another notable musician whose single was removed from Spotify because he’d paid a click-farm service to generate “guaranteed” plays.

I say there’s no shame in having a small audience. So instead of worrying about your play count, find ways to encourage your modest following to actually engage with your music on Spotify.

2. You’re paying too much attention to curated playlists

Curated playlists are great, and getting a song added to a popular playlist can have a huge impact. We’ve even written a whole guide with strategies for building your Spotify resumé so you’re in a better position to attract attention from big playlist curators. But there’s something more important than curated playlists: algorithmic playlists like Release Radar and Discover Weekly.

Bryan Johnson, director of artists and management at Spotify UK, says “What we are seeing is that this playlist (Release Radar) is becoming a huge driver of streams – more than any of our programmed editorial playlists, which are the ones that everyone pitches for. It’s Release Radar which is driving listens.”

The more followers you have on Spotify, the more Release Radar playlists will surface your music. So the lesson is simple: get your fans to follow you on Spotify. That will be a smarter use of your time than pitching to popular playlisters, at least early on.

3. You’re not releasing enough music

If you want to do well on Spotify, you should release music more frequently. 

Johnson explains, “We are dealing in attention economics. Gone are the days when you can just spend six or eight weeks prepping a single and then dropping it to see how it does. Now you can just drop the track and then work it. Because the track’s available, people want it; people want more and more tracks. The more individual tracks [you have], the more chances you are getting to present your music to people.”

And when working on bigger recording projects, you gotta remember: you can’t disappear between albums. You need to keep the momentum going. And that means “stockpiling” extra material to drop between larger EP or LP releases. “Be a few tracks ahead of yourself,” says Johnson.

Of course CD Baby can help you distribute all your music to Spotify (and Apple Music, iTunes, Amazon, Pandora Premium, and 100+ other digital music platforms). Plus, you’ll get YouTube monetization, sync licensing, daily trending reports from Spotify, and so much more.