Category Archives: Biz

These posts focus on the business side of songwriting.

Biz, Do Business Like A Pro, Write Like A Pro

You’ll Probably Regret Not Bringing This To Your Next Cowrite

2 Comments

This is an encore edition of a recent blog post.  I’m re-releasing it for two reasons: 1) it’s a really important topic and 2) I have a great opportunity for you at the end of it.  Thanks! -Brent

cropped-SWP-2.jpg

Let me tell you a tale of two cowrites, both from my early “pro” days. First… the bad cowrite.

I was signed with Major Bob Music at the time, and “Monday Morning Church” had recently been a top 5 country hit for Alan Jackson.  But in spite of having a publishing deal and a hit under my belt, I was still pretty much a newbie trying to figure things out.  (I still feel that way to be honest.)  Anyway, Major Bob hooked me up to cowrite with a legit hit songwriter.  This guy had many cuts and hits to his credit, and I was honored to get in a room with him.

We met at his publishing company on Music Row.  After a little chit chat, he got that familiar look on his face.

“So… got any ideas?”  No.  Not really.

I mean, I had a bunch of hooks and some ideas, but nothing great.  Nothing I was busting a gut to write.  And I apparently didn’t have anything that impressed him, either.  After I threw out several “shoulder-shruggers,” he said, “Man, we need an idea like ‘Monday Morning Church.'”  Too bad.  I must have left my stack of “Monday Morning Church” ideas at home that morning.

We chatted some more, eventually moving out to the porch where he smoked a cigarette and I watched my hopes of making a good impression going up in smoke.  We called it a day.  I call it a failure of preparation on my part.  We’ve never written again.  For me, I was embarrassed and in no hurry to risk wasting his time again.

Now for the good cowrite.

cropped-SWP-2.jpg

I met Byron Hill at Chad Green’s ASCAP Country Workshop.  And, if I remember correctly, Carla Wallace at Big Yellow Dog Music also helped connect us.  We got a cowrite on the books, and I was pumped.  Byron has written a bunch of hits including, “Fool Hearted Memory” for George Strait, “Born Country” for Alabama, “Politics Religion & Her” for Sammy Kershaw and many, many more.

I did my homework.  I pulled together several ideas and lyrics that I thought he’d like.  I really wanted to make a good impression on him. When Byron asked, “So… got any ideas?” I was ready.  He loved a lyric sketch I brought in called, “Ring On The Bar,” and we were off to the races.

This first cowrite led to some success and more opportunity.  While “Ring On The Bar” hasn’t been a big hit yet, it’s been recorded by John Pierce (RCA), James Dupre’ (The Voice), and has been on hold by several artists, including Brad Paisley.

But the big thing is that Byron and I went on to write several more songs together, including the 2014 Canadian Country Music Awards Single Of The Year (and my first #1) “When Your Lips Are So Close” with Gord Bamford.

Good thing I showed up with a good idea on that first day, huh?

And that brings me to the point of these two stories.  I believe that a strong idea is the most valuable thing you can bring to a cowrite (other than Kris Kristofferson).  “Well,” you might say, “how come these big-time songwriters didn’t throw out any of THEIR ideas?”  Here’s why:

A great idea is really the only thing a newer songwriter has to offer a seasoned pro.

Let’s face it, if you get to write with an established pro songwriter, what do THEY need from YOU?

new songwriter offer pro

They have a more valuable name in the business.  They have more connections.  They most likely bring a higher level of songwriting skill.  The only thing they need is a fresh, cool idea or melody.  Unless you’re swinging around a big fat record deal, your job is to bring in the idea or the start of a song.

If the pro has a great idea, he surely has several proven, established cowriters who could write it with him.  Why risk giving 50% of HIS idea to a songwriter who might not contribute very much?

Let me tell you, it’s more fun (and profitable) when you have a strong answer for “got any ideas?” – and I want you to be prepared when that question comes your way.  And that question doesn’t need a good answer ONLY if you get a pro cowrite.  That question comes up in EVERY cowrite.  Every time you step into the writing room, you have the opportunity to blow away your cowriter with a great nugget or idea.

Feeling like I have a stack of strong ideas allows me to walk into any cowrite with confidence.  We might not always write my idea, but I came prepared… and my cowriter knows it and appreciates it.

I want YOU to have that confidence – and those results, too.  I want your cowriters to be glad they showed up to write with you.  But I DON’T want you to have to go through years of trial, error and the occasional embarrassing cowrite like I did!  That’s why I dive deeply into the topic in my upcoming web-workshop series in August called “Song Ideas: From Blank Page To Finished Lyric.”

Blank 2 Finished

This course is designed to take you from a blank page to a new song idea to a fully developed concept to a finished lyric. You’ll learn a repeatable process you can use to discover and develop strong song ideas again and again. And you’ll also learn how to frame and focus those ideas for maximum commercial impact and appeal.

This course is INTERACTIVE! You won’t sit back and just stare at me talking for an hour-and-a-half. You won’t be some number on my dashboard. No. We’ll be face-to-face. You’ll have exercises to practice outside of our sessions. I’ll ask you questions. You can ask me questions. We’re in this thing together. That’s why I keep the workshops small- I want to get to know YOU!

Tickets for this event are on sale NOW. There are only 11 spots open, and I expect them to go fast- so don’t wait too long and miss your chance to take your songwriting to the next level!

I look forward to seeing you in August- CLICK HERE or on the image below to learn more and reserve your spot now!

Blank 2 Finished

God Bless and Enjoy the Journey,

Brent

Brent Baxter is a hit songwriter with cuts by Alan Jackson, Randy Travis, Lady Antebellum, Joe Nichols, Gord Bamford, Ruthie Collins, Ray Stevens, and more. He’s written a top 5 hit in the US and a #1 in Canada… so far.

SWP 4

Biz, Do Business Like A Pro

How Does A Pro Songwriter Balance Passion & Profit?

7 Comments

Ask Your SWP

Today, I want to tackle a question I got from a Songwriting Pro reader…

QUESTION:

“As a pro songwriter, do you write each song with the goal of profit, or (in the beginning) did you just write out of passion- and success naturally flowed from that passion?”

ANSWER:

YES and NO.

Okay, you’re probably looking for a little something more, so here goes.  I wrote – and still write- for BOTH passion and profit.  I’ve always loved creating.  It started with making up my own comic books, then moved to short stories, poetry, and now songwriting.  Creating something new has always given me a buzz.  I get off on it, pure and simple.

And that passion for songwriting led me to write for profit.  Why?  So I could spend more time writing!  If I can make a living writing songs, it means I can spend a lot more time on my passion.  I don’t have to jam songwriting into the cracks between a day job, family time, laundry and sleep.  If I can replace a day job with songwriting- I get to just focus on songwriting, family, friends and sleep (haven’t figured out a way to avoid laundry yet).

I love getting cuts.  It’s validating and encouraging.  And not many feelings are better than hearing my own song on the radio.  And the money from a hit single is fantastic, no doubt.  But I would trade cuts for just being able to sit in a room with a buddy every day and make up songs.  Unfortunately, that’s not how the world works.  I need money to keep a roof over my head.  So I aim for cuts and hits because it allows me to write more songs.  Money feeds my habit.

Cuts equal time

No, success definitely didn’t “just happen” as a byproduct of writing for passion.  A lot of my songwriting success is due to things out of my control, but it was never unintentional.  I was intentional about writing often, intentional about learning the craft, intentional about networking.  I wasn’t always very good at it, but I was purposeful.  My intention to get cuts affected what kind of songs I wrote, how I chose cowriters, even moving to Nashville was a result of this intention.

I can’t say, “I made success pick me,” but I can say, “I raised my hand as high as I could as often as I could.  I made it easy for success to find me.”  It was definitely no accident.

Does this mean that every song I’ve ever written – or will ever write – is ONLY with an eye for profit?  Does this mean I never write a song “just for fun” or just because it was something I “had to say?”  No, that’s not what it means at all!  But those times are the exception, not the rule.  Because even when I write those songs, I usually try to craft them into a commercially relevant form.  (Best of both worlds, right?)  Even with “passion” songs, it’s wise to write them in a way that leaves the door open for profit.

What about you?  How do you balance passion and profit?  Do you even bother trying to balance them?  And if YOU have a question you’d like me to address in a future blog post, email me at brent@songwritingpro.com.  (I can’t get to them all, but I’ll answer your question here on the blog if I think it’ll help the Songwriting Pro community.  Oh, and I’ll leave your name out, so you’ll keep your privacy.)

If you want to become a songwriting pro (in how you think, write songs or do business), then a great place to start is RIGHT HERE.  I want to help you on your songwriting journey.  I’ve been in the music business for years, and I’m here to help you get the cuts – and avoid the bruises.  CLICK HERE TO START HERE.

God Bless and Enjoy the Journey,

Brent

Brent Baxter is a hit songwriter with cuts by Alan Jackson, Randy Travis, Lady Antebellum, Joe Nichols, Gord Bamford, Ruthie Collins, Ray Stevens, and more. He’s written a top 5 hit in the US and a #1 in Canada… so far.

Man vs. PRO

 

Biz

Encore: The Band Is A Brand. Are You Brand Conscious?

3 Comments

Here’s an encore of one of my very first blog posts.  I’m sharing it for two reasons: 1) a lot of you have started following this website since it was originally posted (thanks!) and might find this post helpful, and 2) I need to lay low this week.  I’ve been getting so busy with Songwriting Pro stuff that I’ve neglected some very important things (namely Bible study and prayer time).  Plus, Emily and I are adopting and there is a TON of paperwork (and even more need for Bible study/prayer time).

Thanks for understanding.  I hope to be back in the swing of things next week!

God Bless,

Brent

Man vs. PRO

This is the part of songwriting I didn’t know I was signing up for- the business, strategic side of things. Sure, I have my MBA, but I really just wanted to write my songs and have them pitched by somebody to somebody and- whammo! Cuts. But the world is how it is, not how I wish it were. So now I think about artists as brands and try to act accordingly.

An artist is a brand, and they and their team (label, promotion, management) work really hard to position their brand (artist) into a certain place in the market. In business terms, they want to increase their market share- on radio and in our wallets. Everything supports the brand image: album artwork and photos, songs, videos, etc.

Artists are looking for songs that fit their brand.

Whether you are writing FOR or WITH a certain artist, it’s important for you to understand their brand. Ask yourself: who is their audience- who do they speak to? What message do they send to their fans? How do they deliver this message? How do they want to be perceived? This goes deeper than just “traditional country” or “pop country.”

If you can write a song that really fits an artist’s brand, you have a great opportunity. Think about “Real Good Man” for Tim McGraw. What a great song for him. Musically, it fits him well. Great feel, and Tim can sing it. Lyrically, that’s totally his persona- a real bad boy, but a real good man.

The artist is Coke. Their songs are Coke Classic, Cherry Coke, Coke Zero, Diet Coke, etc. They want songs that both reinforce and expand their brand. They may want Cherry Vanilla Coke or Raspberry Coke or something. Your song needs to fit on the same shelf. Your song may be the best $200 bottle of wine to be found, but it doesn’t matter. That artist is Coke.

Taco Bell doesn’t sell hamburgers.

My buddy, Tim Meitzen, told me one time, “They only have about three ingredients, but they keep putting them in different shapes!” That’s how some artists are. They keep giving you the same basic ingredients, but they put a little different spin on them. And when they do add something new, say, a Dorito as a taco shell, it still makes sense for the brand.

Luke Bryan is married with children. (So was Al Bundy, but that’s a different topic altogether.) Anyway, Luke has a family, but you wouldn’t know it from listening to his music. His music presents him as a Spring Breakin’ tailgatin’ good ‘ol party-boy who loves the ladies. I believe there’s only one song in which he has a wife and kids. But that was on his first album before he really found his image/voice/brand. And it wasn’t a single. Since he found his image, he has really stuck to it. And who can blame him? It’s working great.

It’s not about what you think an artist should sing or who they should be

… or where you think they should go as an artist. Unless you’re in their circle of influence, it doesn’t really matter what you want. Sorry.

I ran into a branding issue with Lady Antebellum.

Back before Lady A existed, I wrote a song with Hillary Scott, Casey Koesel, and Jon Armstrong called, “A Woman Scorned.” It’s a fun, rocking, fairly aggressive song that shows off Hillary’s vocals really well. Later, when she, Charles, and Dave formed Lady Antebellum, they started playing our song in all their shows (it’s on YouTube). They even cut it for their debut album. Score! Right? Wrong. When it came time to deciding which last couple of songs wouldn’t make the record, “A Woman Scorned” was reduced to a bonus track. That was disappointment with zeroes on the end of it. But after hearing their album, I understood why. It didn’t fit their brand. It was too aggressive. Even though the song had served them well and helped them get their deal, it didn’t fit the image. I couldn’t argue with that.

The lyric and melody BOTH have to work for the artist.

I’ve mainly focused on lyrical content, but the music has to fit the artist’s brand, too. Miranda Lambert isn’t likely to cut a song that sounds like Shania Twain no matter how well the lyric fits her. Ask yourself: is this song the right kind of pop? The right shade of country?

And it’s important to remember that these brands change over time. They aren’t locked in forever. Lonestar was one thing before “Amazed,” and another thing after. Toby Keith was one thing before “How Do You Like Me Now” and another thing after. Kenny Chesney had a slower, but no less important transition to beaches and nostalgia. So don’t lock a brand in your mind with super glue. Make sure to look for the shifts that are inevitable.

Agree? Disagree? I’d love to hear your thoughts.

God bless and enjoy the journey,

Brent

Biz, Do Business Like A Pro, Write Like A Pro

The Most Valuable Thing You Can Bring To A Cowrite

9 Comments

Man vs. PRO

Let me tell you a tale of two cowrites, both from my early “pro” days. First… the bad cowrite.

I was signed with Major Bob Music at the time, and “Monday Morning Church” had recently been a top 5 country hit for Alan Jackson.  But in spite of having a publishing deal and a hit under my belt, I was still pretty much a newbie trying to figure things out.  (I still feel that way to be honest.)  Anyway, Major Bob hooked me up to cowrite with a legit hit songwriter.  This guy had many cuts and hits to his credit, and I was honored to get in a room with him.

We met at his publishing company on Music Row.  After a little chit chat, he got that familiar look on his face.

“So… got any ideas?”  No.  Not really.

I mean, I had a bunch of hooks and some ideas, but nothing great.  Nothing I was busting a gut to write.  And I apparently didn’t have anything that impressed him, either.  After I threw out several “shoulder-shruggers,” he said, “Man, we need an idea like ‘Monday Morning Church.'”  Too bad.  I must have left my stack of “Monday Morning Church” ideas at home that morning.

We chatted some more, eventually moving out to the porch where he smoked a cigarette and I watched my hopes of making a good impression going up in smoke.  We called it a day.  I call it a failure of preparation on my part.  We’ve never written again.  For me, I was embarrassed and in no hurry to risk wasting his time again.

Now for the good cowrite.

cropped-SWP-2.jpg

I met Byron Hill at Chad Green’s ASCAP Country Workshop.  And, if I remember correctly, Carla Wallace at Big Yellow Dog Music also helped connect us.  We got a cowrite on the books, and I was pumped.  Byron has written a bunch of hits including, “Fool Hearted Memory” for George Strait, “Born Country” for Alabama, “Politics Religion & Her” for Sammy Kershaw and many, many more.

I did my homework.  I pulled together several ideas and lyrics that I thought he’d like.  I really wanted to make a good impression on him. When Byron asked, “So… got any ideas?” I was ready.  He loved a lyric sketch I brought in called, “Ring On The Bar,” and we were off to the races.

This first cowrite led to some success and more opportunity.  While “Ring On The Bar” hasn’t been a big hit yet, it’s been recorded by John Pierce (RCA), James Dupre’ (The Voice), and has been on hold by several artists, including Brad Paisley.

But the big thing is that Byron and I went on to write several more songs together, including the 2014 Canadian Country Music Awards Single Of The Year (and my first #1) “When Your Lips Are So Close” with Gord Bamford.

Good thing I showed up with a good idea on that first day, huh?

And that brings me to the point of these two stories.  I believe that a strong idea is the most valuable thing you can bring to a cowrite (other than Kris Kristofferson).  “Well,” you might say, “how come these big-time songwriters didn’t throw out any of THEIR ideas?”  Here’s why:

A great idea is really the only thing a newer songwriter has to offer a seasoned pro.

Let’s face it, if you get to write with an established pro songwriter, what do THEY need from YOU?

They have a more valuable name in the business.  They have more connections.  They most likely bring a higher level of songwriting skill.  The only thing they need is a fresh, cool idea or melody.  Unless you’re swinging around a big fat record deal, your job is to bring in the idea or the start of a song.

If the pro has a great idea, he surely has several proven, established cowriters who could write it with him.  Why risk giving 50% of HIS idea to a songwriter who might not contribute very much?

Let me tell you, it’s more fun (and profitable) when you have a strong answer for “got any ideas?” – and I want you to be prepared when that question comes your way.  And that question doesn’t need a good answer ONLY if you get a pro cowrite.  That question comes up in EVERY cowrite.  Every time you step into the writing room, you have the opportunity to blow away your cowriter with a great nugget or idea.

Feeling like I have a stack of strong ideas allows me to walk into any cowrite with confidence.  We might not always write my idea, but I came prepared… and my cowriter knows it and appreciates it.

I want YOU to have that confidence – and those results, too.  I want your cowriters to be glad they showed up to write with you.  But I DON’T want you to have to go through years of trial, error and the occasional embarrassing cowrite like I did!

I’d love to hear your thoughts on this.  Have you had similar success or failures?  Please leave a comment!

If you want to become a songwriting pro (in how you think, write songs or do business), then a great place to start is RIGHT HERE.  I want to help you on your songwriting journey.  I’ve been in the music business for years, and I’m here to help you get the cuts – and avoid the bruises.  CLICK HERE TO START HERE.

God Bless and Enjoy the Journey,

Brent

Brent Baxter is a hit songwriter with cuts by Alan Jackson, Randy Travis, Lady Antebellum, Joe Nichols, Gord Bamford, Ruthie Collins, Ray Stevens, and more. He’s written a top 5 hit in the US and a #1 in Canada… so far.

SWP 4

Biz, Do Business Like A Pro

I Want Cuts, But I Don’t Want To Give Up My Publishing!

40 Comments

Ask Your SWP

Today, I want to tackle a question I got from a Songwriting Pro / Man vs. Row reader.  If YOU have a question you’d like me to address in a future blog post, email me at brent@songwritingpro.com.  (I can’t get to them all, but I’ll answer your question here on the blog if I think it’ll help the Songwriting Pro community.  Oh, and I’ll leave your name out, so you’ll keep your privacy.)

QUESTION:

“…I don’t have any cuts, but I don’t want to give away my publishing. I feel the publishers work for the songwriters and should be given, if any, no more than 30%, which is the amount you’d give to a waiter/waitress. I know there are writers who keep all their publishing, and that it’s easier to get a song cut if you have a publisher. So I don’t want to come off as mean, impractical, or ignorant.”

ANSWER:

If you’re dead set on not giving away any publishing, you either need to do all the publishing work yourself or hire a good song plugger for a monthly retainer.

Expecting to sign a good publishing deal for only 30% is simply not going to happen- unless you get a bunch of cuts without a publisher and basically don’t need one.  Or if you write for them with ZERO advance/draw.  Meaning, they don’t pay you anything but the royalties your songs earn.  And maybe some demo expenses.  But even then, that’s a long shot.

With so many songwriters out there (many with cuts to their credit) who can’t even get deals or a co-pub, you simply don’t have the leverage.

Publishers usually do a few things in exchange for your publishing: 1) pay you up front (a draw or advance) so you can afford to write full time or thereabouts 2) they have connections you don’t have- and they leverage those connections to get your songs cut 3) they handle the licensing and other administrative paperwork 4) cover your demo expenses 5) fly your flag around the music biz- building your personal brand and helping you get cowrites.

That’s way more value than you get from a waiter.  (And I say that with love for waiters… I’ve been one!)

If you can handle that stuff without a publisher and actually BE your OWN publisher- rock on. If not, a pub deal may be a good idea. If you can get one (which is NOT easy.)

I’d love to hear your thoughts on this.  Please leave a comment!  And, again, if you have a question, email it to me at brent@songwritingpro.com.

If you want to become a songwriting pro (in how you think, write songs or do business), then a great place to start is RIGHT HERE.  I want to help you on your songwriting journey.  I’ve been in the music business for years, and I’m here to help you get the cuts – and avoid the bruises.  CLICK HERE TO START HERE.

God Bless and Enjoy the Journey,

Brent

Brent Baxter is a hit songwriter with cuts by Alan Jackson, Randy Travis, Lady Antebellum, Joe Nichols, Gord Bamford, Ruthie Collins, Ray Stevens, and more. He’s written a top 5 hit in the US and a #1 in Canada… so far.

Man vs Row

 

Biz, Do Business Like A Pro

How Songwriters Should React To Negative Song Critiques

19 Comments

Man vs Row

 Okay, so you finally got the chance to either sit down with (or email) an industry pro to have them listen to your song… and they didn’t like it.  Maybe they were “meh.”  Maybe they ripped it apart.  Your song- your sweet little innocent baby- and they tore into it like a redneck tearing into peel-and-eat shrimp at a Chinese buffet.

What do you do now?

Well, first let me tell you- we’ve all been there.  Every songwriting pro started out as a newbie with bad songs.  And, at some point, somebody in the industry heard them and didn’t like them.  I remember mailing in (yep- snail mail) my best song to NSAI’s song evaluation service years ago, waiting weeks to get it back… only to wonder how in the world the evaluator seemed to be completely oblivious to my songwriting genius.  I mean, I was certain back then that I was a virtual songwriting panther, but the evaluator just seemed fixated on his opinion that my song would NEVER get cut.  Seems MY title “By The Time I Get To Phoenix,” had already been a huge hit for Glen Campbell.

Oops.

Other than yelling “But I’m a songwriting panther!” into the empty Arkansas sky (which I may or may not have done), here are some helpful ways to react to a negative song evaluation.

1. Don’t freak out.

Chances are, you’re feeling a little kicked around. Don’t worry- we’ve all been kicked around. This is an opportunity to build your “getting-back-on-the-horse” muscles. Believe me, you’ll need them over the years to come. It’s important not to swing too far in either direction- “I’ve arrived” or “I’ll never get there.” Just because your coach didn’t do backflips doesn’t mean it’s time to feed your guitar to a woodchipper. Just take a deep breath.

2. Don’t go off.

You might feel personally attacked.  You might think that idiot has bricks for ears- and should be informed of that fact immediately.  Well… don’t.  Just don’t.  There is NOTHING to be gained from storming out of that office or sending that nasty email.  You can’t argue someone into liking your song.  All you’ll do is take that person from not liking your song to not liking YOU.  Writing a bad song is forgivable.  We all do it.  But being a bad person- that poisons the well.  Play the long game.  Be nice even when you don’t feel like it.

3. Thoughtfully consider their feedback.

Put away the voice of pride which says, “they don’t know what they’re talking about- just ignore ‘em.” Also put away the voice of fear and laziness that doesn’t want to admit you may have a lot of work ahead of you. Honestly, did the coach make some valid points? Maybe you brought in a rodeo song and your coach told you rodeo songs aren’t in demand right now. Well, get on iTunes or Billboard and do the research. It’s not about seeing the world as you want it to be. See the world as it is.

SWP 2

4. Seek out additional educated feedback.

Nobody’s opinion is gospel. Nobody has perfect understanding. If you disagreed with everything your coach said, get another opinion. If you agreed with everything your coach said, get additional opinions. If you hear the same point made by two or more pros, really give it a lot of consideration. But there’s another reason to seek additional opinions- it will help you grow your network and increase the chance that you find your champion.

5. Don’t quit.

Write more songs!  After all, didn’t you start writing songs because YOU love it?  Don’t let one or two people’s opinion of your song change your love for songwriting.  Don’t let one meeting determine the validity of your dreams. That is a decision for you, your family, and the Good Lord. Well, it’s actually HIS decision alone, but it sure is a lot easier on everyone if you and your family get on the same page with Him.

I’d love to hear your thoughts on this.  Have you done something you regret right after a song evaluation?  Or did you do something to make the most of a bad evaluation?  Do you have some advice you’d like to add to this list?  Please leave a comment!

If you want to become a songwriting pro (in how you write songs or in how you do business), then a great place to start is RIGHT HERE.  I want to help you on your songwriting journey.  I’ve been in the music business for years, and I’m here to help you get the cuts – and avoid the bruises.  CLICK HERE TO START HERE.

God Bless and Enjoy the Journey,

Brent

Brent Baxter is a hit songwriter with cuts by Alan Jackson, Randy Travis, Lady Antebellum, Joe Nichols, Gord Bamford, Ruthie Collins, Ray Stevens, and more. He’s written a top 5 hit in the US and a #1 in Canada… so far.

Man vs Row

Biz, Cowriting

How To Make A Bad 1st Impression On A Pro Songwriter

3 Comments

Man vs Row

Here’s the good news. A lot of you probably don’t need to read this. You’re already making a horrible first impression on pro songwriters- and you don’t even know it.

My last few posts have been “6 People Who Can Introduce You To Pro Songwriters” <READ HERE> and “How YOU Can Connect With A Pro Songwriter” <READ HERE.>  So, today, I’d like for us to discuss how to totally blow it when you finally DO connect with a pro songwriter.  Along the way, we might even pick up a couple tips that’ll help you make a good first impression

1. Be an ask-hole

Immediately focus on your needs and what the pro can do for YOU.  Right off the bat, ask him to walk outside with you and listen to your song in your car out in the parking lot.  The thought of getting mugged or stabbed and stuffed in your trunk will be too much for him to resist.  Ask him to take your CD and keep up with it for the rest of the night.  Ask her for a cowrite.  (I know, I know.  You’re really doing the pro a favor by offering to write with her, but she might not see it that way.)  Ask for an introduction to their publisher or other pros.  Or to artists.  They’ll looove that.

2. Grumble, grumble, complain, complain.

If you’re not sucking in favors like a black hole, be sure and spew negativity.  Complain about the biz.  Complain about what’s on the radio.  Complain about the “good ‘ol boy” system.  Complain about how hit songwriters have sold out.  Yeah.  That’ll really make the pro want to spend quality time with you.

3. You’re awesome, and the world should know it.

If confidence is good, overconfidence is even better, right?  Be sure and tell the pro that you’re really, really good.  Better than the trash on the radio.  Sure, you don’t have any major cuts yet, but you ‘da man.  Tell the pro you’ve written a ton of hits.  Well, soon-to-be-hits, anyway.  Fake it till you make it, bro.  The pro, who has been knocked down by the biz time after time, will surely recognize you as an honest-to-goodness brother-in-arms.

Know The Row pic 2

4. Drink up and fall down!

Nothing makes a positive memory in the mind of a pro like hanging with someone on a night they won’t remember.  It does you SO MUCH good to hang with a pro… while drinking so much you can’t recall what you talked about.  What’s even better is if your behavior leads to you actually wanting to avoid them out of embarrassment.  Yeah.  Good times.

5. Be a total fanboy (or girl).

Yes, it’s cool to compliment the pro about a song or their success, but remember- we’re here to ruin your first impression.  So it’s important that you overdo it.  Freak out about meeting them.  Make sure the pro doesn’t mistake you for a songwriting peer (or potential peer).  Make it absolutely clear that you’re just a fan.

6. Never leave their side.  Like… ever.

Once a pro makes the mistake of locking eyes with you or shaking your hand, it’s your job to bury yourself into them like a tick in a dog’s ear.  The shadow God gave them is not enough.  They need you to be their other one.  Maybe follow them to the bathroom.  I’m sure the pro left the house this morning for the express purpose of talking to you- and only you- all night.

If you follow these steps, I can pretty much guarantee that you’ll never see that pro again.  Not if they see you first, anyway.  Good luck.

1-to-1 Coaching

Want some personalized help and guidance for your songwriting journey?  I’ve just opened up some spots for 1-to-1 coaching.  I’m happy to be your “personal pro”- to give feedback on your songs, answer any questions I can, help you develop your song ideas, and discuss goals and “next steps.”  I also have some coach-writing spots open.  This is when you and I actually write a song together!  If you’re interested, CLICK HERE.

God Bless and Enjoy the Journey,

Brent

Brent Baxter is a hit songwriter with cuts by Alan Jackson, Randy Travis, Lady Antebellum, Joe Nichols, Gord Bamford, Ruthie Collins, Ray Stevens, and more. He’s written a top 5 hit in the US and a #1 in Canada… so far.

Man vs Row

Biz, Cowriting

How You Can Connect With A Pro Songwriter

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Man vs Row

It’s hard to get a cowrite with a pro songwriter if none of them know you exist.

Last time, I wrote about a few people who can connect you to a pro songwriter (to read that post, CLICK HERE).  The last item on that list was simply titled “You.”  Today, I want to dive into some ways that you can reach out to a pro songwriter directly – how to get on a pro’s radar.

1. Industry Events

ASCAP, BMI, NSAI and other organizations host events which are open to the public or to their members.  These events are good places to bump into pro songwriters.  It may be a #1 party, a workshop, or a Christmas party.  Show up, smile, and be friendly.

2. Songwriter Workshops

NSAI, Global Songwriters Connection and other groups often host workshops featuring pro songwriters as teachers, song evaluators, guests, etc.  This is one of the few places where your song can be your first impression.  That’s a great opportunity- if you have a great song!  (To read more about how a great song is the best first impression you can make… READ HERE.)

1st Impression

3. Songwriter Rounds / Shows

Nobody likes to play to an empty room.  Putting your smiling face in the crowd and giving the songwriter an honest compliment after the show will put you in the plus column.

4. Coaching

Okay, I wasn’t going to add this one, because it felt self-serving.  But Andrew Cavanagh called it out in the comments last week, and it does work.  Coaching/mentoring with a pro songwriter, whether paid or not, is a good way to get their attention.  After all, the pro is focused on you (or your small group) for the length of the session.  However, it does NOT guarantee anything more than the hour or whatever of feedback/help the pro and you both signed up for.  Anything extra is a bonus.  A coaching session rarely leads to anything else, so don’t expect it.

5. Online

Does the pro have a blog?  Is he or she active on social media?  Retweeting, liking, sharing, and leaving relevant (non-spammy) comments on their stuff helps you get your name and face in front of them in a positive way.  Again… don’t spam.  Don’t lead with “listen to my song” or “check out my website” or “download my song.”

6. Social Circles

If you live near a major music center (like Nashville, New York or LA), you may have a pro songwriter in the stands at your kid’s ballgame, volunteering at the same charities, or sitting in the pew in front of you at church (but PLEASE don’t choose your place of worship based on which industry people go there).  These places allow you to connect as people first.  And that’s a great way to start.  Let the songwriting stuff come up later.

Okay, so now you’re breathing the same air as pro songwriters.  Congratulations!  Now you have the chance to go from them not knowing you exist to them possibly hating your guts and wishing they’d never laid eyes on you.

That’s right- you’re now in the perfect position to make a bad impression.  Next time, we’ll discuss how to avoid that.

What about you?  Have you had any success connecting with a pro at these events?  Are there other places where you’ve connected?  I’d love to hear your comments!

By the way…

1-to-1 Coaching

Want some personalized help and guidance for your songwriting journey? I’ve just opened up some spots for 1-to-1 coaching. I’m happy to be your “personal pro”- to give feedback on your songs, answer any questions I can, help you develop your song ideas, and discuss goals and “next steps.” I also have some coach-writing spots open. This is when you and I actually write a song together! If you’re interested, CLICK HERE.

God Bless and Enjoy the Journey,

Brent

Brent Baxter is a hit songwriter with cuts by Alan Jackson, Randy Travis, Lady Antebellum, Joe Nichols, Gord Bamford, Ruthie Collins, Ray Stevens, and more. He’s written a top 5 hit in the US and a #1 in Canada… so far.

Man vs Row

Biz, Cowriting

6 People Who Can Introduce You To Pro Songwriters

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Man vs Row

Trying to connect with pro songwriters in towns like Nashville can feel like standing knee-deep in a river and dying of thirst.

Pros are all around you- you see them at the coffee shop, walking up and down the sidewalks of Music Row, out at lunch in midtown, and out at songwriter nights.  But how do you connect?

Maybe someone can introduce you.

I know.  Easier said than done.  But here are some people who have the possibility of connecting you to a pro.  By “connecting,” I don’t necessarily mean booking a cowrite.  I mean anything from “Bill Hitmaker, this is Manny Row,” to “Bill, you and Manny should write sometime!” to “Manny, let me book you with Bill.”

1. Your PRO Rep

If you’re a member of ASCAP, SESAC, or BMI, try to get a meeting with your rep.  If you can make a fan out of him (or her), he might connect you with some other up and coming songwriters.  Absolutely blow your rep’s mind, and he might connect you to a pro.

2. A Music Publisher

If a publisher really digs what you do, he/she might book you with some pro cowrites.  Of course, connecting with a publisher isn’t easy.  But I’ve written about that before.  CLICK HERE to learn how to get on a music publisher’s radar.

3. Industry Contacts

Pro songwriters know people at organizations like NSAI.  They hang out there sometimes.  As these folks at these places get to know you (and become a fan of your writing and of you as a person), they may just grab you one day and say, “I want you to meet Bill Hitmaker.  Bill, this is Manny Row…”  Those kind of personal introductions are great.

relationship biz

4. Other Songwriters

Who do your current cowriters and songwriting friends know?  Who are their cowriters?  Maybe you can arrange a lunch or (better yet) a cowrite between the three of you.  But don’t just expect your cowriters to just do you a favor.  Make it easy on them by presenting an amazing idea or melody that you want to write with a pro.  It could be pretty attractive for your cowriter to hook up your amazing idea/melody with an established pro who has connections.  Your cowriter wins by bring both sides value and being in the room, too.  And “great idea” + “pro songwriter” increases his chance of a cut, so he should be happy to get all three of you together.

5. Personal Relationships

If you live in Nashville, odds are you know somebody who knows a pro.  Don’t abuse your friendships, but do be on the lookout for opportunities to meet those pros.  Maybe it’s their kid’s birthday party.  Maybe it’s at a Christmas party.  You never know.

6. You

That’s right, YOU can introduce yourself to pro songwriters.  There are several ways to do this.  As a matter of fact, it’s worth it’s own post.  And that’s exactly what we’ll discuss next Monday.

Please remember that all of these people don’t just exist to solve your problems and make you happy (you don’t even exist for the sole purpose of solving your problems, but that’s for more of a theological post…).  You have to be patient.  Don’t just walk in these folks’ doors and expect them to pick up the phone and call a pro on your behalf.  It’s a big compliment for someone to make a professional introduction.  Treat it- AND THEM- with respect.  Build a relationship.

Hopefully, these folks will become a fan of both you and your songs.  If it’s not happening, keep working to write better songs.  Also, take a look at how you present yourself.  Are you coming off as too aggressive, too negative, too desperate, too unprofessional, etc.?  Every time a person makes a contact/recommendation on your behalf, it’s a reflection on them.  Do your best to make them look good by introducing people to you!

What about you?  Did I miss anyone?  Have you used any of these avenues to meet & connect with a pro?  Have you used different avenues?  I’d love to hear your comments!

By the way…

1-to-1 Coaching

Want some personalized help and guidance for your songwriting journey? I’ve just opened up some spots for 1-to-1 coaching. I’m happy to be your “personal pro”- to give feedback on your songs, answer any questions I can, help you develop your song ideas, and discuss goals and “next steps.” I also have some coach-writing spots open. This is when you and I actually write a song together! If you’re interested, CLICK HERE.

God Bless and Enjoy the Journey,

Brent

Brent Baxter is a hit songwriter with cuts by Alan Jackson, Randy Travis, Lady Antebellum, Joe Nichols, Gord Bamford, Ruthie Collins, Ray Stevens, and more. He’s written a top 5 hit in the US and a #1 in Canada… so far.

Man vs Row

Biz

Anthony Orio’s Advice For Indie Artists

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Anthony Orio Home

Today, I want to share some valuable advice for indie artists and indie singer/songwriters. Yeah, I know. I’m not an artist or even a decent singer. Not to worry, I’ve called in an expert.

Anthony Orio is a good buddy of mine. More importantly for today’s purposes, Anthony and his band, The Goodfellers, are the reigning FOUR-TIME winners of Taste of Nashville’s “Best Local Band” as voted upon by the readers of The Tennessean newspaper.

Apart from winning a four-peat as Nashville’s best local band, they are far from a local band. Anthony and the boys play over 200 dates a year- ranging from Toronto, Canada, to Spring Break in Panama City Beach, Florida. Anthony’s also had a few singles featured on Sirius XM’s “The Highway” (“Those Nights These Days” and “Walkin’ On Whiskey”).

His fans are loyal, and his live show is great. He’s even had Goodfellers members turn down gigs with major label artists to stick with him.

Obviously, Anthony’s doing something right.

I asked him to give some advice about how to become a successful indie artist, and here’s what he had to say:

Orio Show

“1) Be prepared to wear all the hats- writer, artist, producer, booking agent, publicist, and the list goes on and on-especially in the beginning.

2) You’re gonna have to give up some sleep. Before I was able to tour and make music full time, I was holding down a day job, a part time job, writing and playing at night, and then waking up after 2 hours sleep, and doing it all over again.

3) And the number 1 and MOST important thing to remember, that no matter how much people “in the industry” want to talk about how much the music business has changed or continues to change, it’s all about one thing- the fans. Cherish the ones you make. Give them 150% every night you step on stage. Give them some of your time when you step off that stage.  Treat them each as if they were precious pieces of gold, because they are the ones that allow you to do what you do.”

Orio Paper

If you get a chance to see one of Anthony’s live shows, I highly recommend it. It’s killer. You can also find him online at www.anthonyorio.com.

What about you?  Are you an indie singer or singer/songwriter?  What advice do YOU have for your fellow artists?  What mistakes have you seen artists make? Leave a comment- I’d love to hear from you!

Anthony’s a professional artist, and he thinks like one.  And if YOU want to become a pro at songwriting, you need to think like a pro, too.  In my FREE e-book, “THINK LIKE A PRO SONGWRITER,” I not only reveal several of the mindsets which separate the pro songwriter from the amateur, but also…

  1. How to get on a music publisher’s radar
  2. How the pros know who is looking for songs
  3. Six simple ways to make your songs more commercial
  4. And more!

To get your FREE, INSTANT download of “THINK LIKE A PRO SONGWRITER,” just click on the image below, or CLICK HERE!

think like a pro songwriter 3D

God Bless and Enjoy the Journey,

Brent

Brent Baxter is a hit songwriter with cuts by Alan Jackson, Randy Travis, Lady Antebellum, Joe Nichols, Gord Bamford, Ruthie Collins, Ray Stevens, and more. He’s written a top 5 hit in the US and a #1 in Canada… so far.

Man vs Row