Seeking Success for Your Songs in the World of Music Licensing

Mallory Zumbach
, the Creative Director at Round Hill Music, shares her knowledge and insight about the music publishing industry by breaking down a recipe for success in the world of music for those Music Think Tank musicians looking to make it in the world of music licensing. 
Most young bands these days understand the importance ofsynchronization licensing—a really great use of your song in an ad, TV show, movie, video game, or trailer can help launch your band to the next level. However, many of those same songwriters and artists don’t really know how to get their music licensed. As the Creative Director at Round Hill Music publishing, it’s my job to help land the songs we publish in advertisements and other media. Here’s what I’ve learned so far in my career that might be of help to you. 
 Watch and Listen, Listen and Watch
When I was in high school, I had a really great band director, Mr. G., who was constantly imploring us to listen to all sorts of different music. His point was that you can’t become a great musician from practice alone—you have to immerse yourself in music and learn from your contemporaries and predecessors. I really believe that the same thing applies for succeeding in the synch world. When you’re watching TV, don’t just regard the music as wallpaper—pay attention to what’s getting used in the shows you’re watching and the ads playing throughout them. Try to observe the trends in song uses, and then go back to your own catalogue and pinpoint which of your own songs might fit into those trends. It’s such a turnoff to music supervisors when you send them stuff that doesn’t fit the mood of their show or sounds too dated for their commercial campaign.  If you have more awareness of what’s currently working for people, that will help you have the kind of targeted approach that they appreciate. It can also help give you ideas for things to incorporate into new songs when you sit down to write and record.
Get Happy
In the ad world in particular, there is a constant need for music with positive lyrics. At the end of the day, agencies are trying to help their clients sell their products, and a depressing or angry song, no matter how great, isn’t typically going to help them accomplish that goal. I don’t think there will ever be a time when agency music producers will stop requesting songs with lyrics about positive, universal themes like togetherness, feeling carefree, things changing for the better, etc. Nothing is more of a bummer for me than having a writer I work with send me a song that is musically uplifting (yay!) with negative lyrics (boo!).  Which is not to say that you should only write cheery tunes—no one can be happy all of the time, and there are still synch needs for sad/mad songs in other areas like film, TV, and video games. It’s just that having one or two big, anthemic songs with positive lyrics will give you something to work with across all synch mediums. Our band American Authors has a fantastic song, “Best Day of My Life”, that’s getting all sorts of synchs, from ads to film trailers to TV shows, because it’s a feel good song with feel good lyrics that’s also really genuine.
Expand Your Options
There are so many ways to help increase the likelihood of having synch success beyond just getting your current songs pitched to music supervisors. The absolute easiest step to take is making sure that you always have an instrumental version for each of your songs. Instrumentals get requested a lot because lyrics can compete too much with important dialogue or voice over in a commercial or TV/film scene. Additionally, if you have an anthemic-sounding song with problematic lyrics (as referenced above), you can at least hope to get some traction with the instrumental version of it. Beyond having instrumentals to work with, think about doing covers of older songs that can put those songs in a new light. We recently had one of our indie bands, Sleepy Kitty, create new covers of two of our classic songs (“I Wanna Be Your Man”, originally by the Beatles, and the Ann Peebles classic “I Can’t Stand the Rain”).  They took the songs to a completely different place from the original versions, which opens up the possibility of licensing those songs for us, and boosts the chances of the band getting some notoriety out there for their particular recordings. If you’re really up for a challenge (and have easy access to a studio), make yourself available to write songs “to spec”—in other words, be willing to write something new specifically for a synch use. Being a bit more creative about ways to expand your reach can lead to additional synchronization opportunities.
Don’t Go It Alone
I think one of the biggest challenges that anyone trying to get their music licensed today faces is that the competition is extremely stiff. If you try to pitch your songs on your own, you’ve got an uphill battle ahead of you. This is where working with a publisher, label, or synch placement company can really make a difference. Our synch team is able to get more of our Round Hill writers’ and artists’ music in front of music supervisors because we have strong relationships with them, established over years of working in this part of the industry. That’s why we get sent song searches in the first place—because they trust us to send them the right songs for each project. A good publisher (or label or placement company) can be the difference between your music being heard by the right people or not. If you’re just blindly emailing MP3s out to supervisors, chances are they’re not going to listen to them. They have to listen to so much music every single day that songs don’t stand out unless someone they trust is championing them. It’s also really important to have a good advocate on your side when it comes time to negotiate the actual license. It’s as much my job to help make sure our writers get paid fairly for synch uses as it is to land the uses in the first place. A lot of young or inexperienced artists going it on their own don’t know what a fair license fee is, let alone how to ask for on. Letting songs go for virtually nothing can set a poor precedent for the value of their music that can come back to bite them later. Having an intermediary like a publisher there to negotiate helps prevent that from happening. My colleagues and I have both the trust of the music supervisors we work with and the knowhow to look out for our writers/artists, and that leads to far better chance for synch-related success.  
About Round Hill Music:

Headquartered in New York with offices in Los Angeles and Nashville, Round Hill Music, LP, is a full service music publisher and creative rights management company. The firm seeks to acquire and manage a diversified portfolio of iconic music copyrights, and to provide a high level of service to its songwriters. Round Hill Music brings together a seasoned team of music publishing and investment professionals and owns or administers music recorded and performed by the Beatles, The Rolling Stones, Bruno Mars, Cee Lo Green, Frank Sinatra, James Brown, Bon Jovi, Steve Perry, Louis Armstrong, Tina Turner, Celine Dion, Britney Spears, Christina Aguilera, Def Leppard, Carrie Underwood, Backstreet Boys, Aerosmith, Buckcherry, Mötley Crüe, Daughtry, Gavin Rossdale, Micharl Bolton, Percy Sledge and Katy Perry among many other artists. Songs in the company’s catalogs include, “All of Me”, “Living in America”, “Bye, Bye, Bye” “Waking Up in Vegas”, “How Do You Stop”, “She Loves You”, “I Saw Her Standing There”, “I’m Alive”, “Inside Your Heaven”, “If It Does Not Snow on Christmas”, “Oh Sherrie”, “Jaded”, “When a Man Loves a Woman”, “In The Meantime”, “Forget You”, “Undo It”, “Just The Way You Are”, “Club Can’t Handle Me”, “Billionaire”, “One Day” and “Marry You.”
For more information on Round Hill Music:

5 (Mostly Free) Tools You Should Be Using To Build A Fanbase That You Probably Missed

Earbits – Earbits is an online radio service that doesn’t play any Top 40 music. Instead, it’s a place where listeners go to hear who is making new and exciting music. Not only is it free to get your music there (if it’s accepted) you can gain Twitter follows, Facebook likes and email addresses from those who like your music on the service. You can also have your music shared by fans on Twitter and Facebook. In fact, in order for listeners to keep listening to music on the service, they need to do these actions to earn points that allow them to keep listening for free. This means if your music is on the service, you are bound to get more fans from it. The service is free, but they also offer a marketing platform where you can pay to get played more often if you pay to do so.
Dropify – Many bands ask me how they can trade song downloads for Facebook likes. Dropify allows you to do just that, for $9 a month. You can embed their widget on your free music page, blogs who post about you, etc. to get more likes on Facebook. You can also link to a Dropify page from your YouTube or SoundCloud descriptions–a great idea to get more than just subscribers on these services. I find this service is best employed as giving fans the option to use Dropify, Pay with a Tweet or get their email address. We use these  three options to great effect on the page where you can download a free excerpt of our new book and have seen great results from giving fans the option to download in exchange for what they choose.
Free Music Archive – WFMU’s Free Music Archive allows free music that has a Creative Commons license to be downloaded, played and promoted. This gets your music to highly influential radio stations like WFMU who are non-profit and cannot afford to operate if they pay conventional royalty fees when they are doing you a favor by promoting your music on their airwaves which will net you tons of new fans. This also allows podcasts to promote your music (while telling their listeners who you are), your music to get in the Vimeo Music Store and other outlets to easily share your music in exchange for free promotion. There are countless ways having your music in this archive can help spread your music and lead you to gain more fans.
BandPage Experiences – Most musicians use crowdfunding services like Kickstarter to sell fans experiences. Experiences like hanging out, doing a cover song of their choice or giving a music lesson get sold to fans on these services every day. But what if you aren’t fundraising a special project and just want to sell fans some cool experiences or services you offer? BandPage Experiences is a perfect way to do just that. Especially for those with a skill you do outside of your music–whether it’s lessons, haircuts, remixes of a fan’s song–you can keep these services on sale permanently using this great service. We wrote about the service in much greater detail here. 
Mention – You may have heard that Google Reader will be gone in a few days. If you rely on Google Alerts to know when someone writes about you, what will you do? Never fear, Mention is here. This fantastic service allows you to track whenever your name is mentioned around the web as well as social networks like Twitter. Unlike Google Alerts, Mention learns the results you do and don’t want, so you sort through less and less junk. The service is free if you only want to track three search terms per month and is extremely valuable for keeping track of who is talking about you on the web. It would be a shame to miss a blog mentioning you and not get the chance to build on that relationship.
Bonus! YouTube Annotation Links – For a long time YouTube wouldn’t allow you to link outside of their service using annotations. That has changed! You can now link to where to buy, download for free or whatever you would like inside annotations. This is especially helpful if you’re embedding your video on blogs and fans aren’t seeing the information in the description. Get creative!

3 Key Music Marketing Lessons Based On Eye Tracking Studies

Look-into-my-eyes-flickrGiven the importance of your website and email for marketing your music online, it’s key to understand what people do when they interact with your site and email newsletters. Eye tracking is a particularly powerful research approach that is designed to help you understand where people focus when they look at your site. Here are 3 music marketing lessons from eye tracking studies to get you started.

Eye tracking originally involved observing where people looked when they were doing such things as reading text or shopping. While there are devices for tracking actual eye movements while people look at computer screens, marketing studies often rely on the activity of one’s cursor as a proxy.
That raises some significant questions about research findings but when combined with clickthroughs, signups and purchases, one can understand a lot about good website, blog and email newsletter design.
The following 3 music marketing lessons are drawn from “7 Marketing Lessons from Eye-Tracking Studies” on the KISSmetrics blog, an excellent resource for such information.
They include one that caught me by surprise and is a reminder that research is sometimes most valuable when it challenges one’s assumptions. However all research should be read with a critical eye and compared with what you and others are finding in actual practice.
3 Key Music Marketing Lessons Based On Eye Tracking Studies
People tend to browse web pages in an F-shaped pattern.
“Web users tend to browse sites based on their reading habits. For English speaking people (and languages with similar reading patterns), the left side of the screen is heavily favored, and all sites tend to be browsed in an F-pattern.”
Keeping important content “above the fold” (fold = bottom of visible screen when first loaded) is not as important as previously assumed.
“Multiple tests…have shown that users have no problem scrolling down below the fold. Surprisingly, they will browse even further down if the length of the page is longer.”
People spend less time scanning emails than web pages so keep newsletters “short and sweet.”
“Once you’ve earned the right to appear in a prospect’s inbox, be sure to keep that privilege by crafting emails that are clear and get to the point quickly. You don’t have as much time to broadcast your message as you would in an online article.”

Who Pays SoundExchange? – 2013 Q1 List

July 10th


This is one of the questions we get most often from our members and friends: “How do I know which music services pay SoundExchange when they use my tracks?”
So here it is: a list of all the music services who have paid SoundExchange royalties for Q1 2013 (payments received through April 30, 2013). Keep in mind that being on this list doesn’t mean a service provider is in compliance with all the terms of SoundExchange’s reporting or payment, or that a service provider is even eligible to be using the government license – SoundExchange can’t give legal advice, so we’re not in a position to say so either way. Though it may be imperfect, we hope that you’ll find this helpful in determining which services are relying on the statutory license and paying SoundExchange for the use of their sound recordings.
Who Pays SoundExchange? (2013 Q1) (View as PDF) (View as Excel)
If you believe there is an error on this list, please contact our Licensee Relations department ( or 202.559.0555). We’ll be updating the list at regular intervals to bring you the most relevant data.

Why You Shouldn’t Let Fear of Copyright Infringement Get in the Way of Your Music Career

hacker Why You Shouldnt Let Fear of Copyright Infringement Get in the Way of Your Music Career
[This article was written by guest contributor Anthony Ceseri.
For some basic information on copyright for musicians, check out our articles:
Editor’s note: At CD Baby, it’s not uncommon for us to talk to one or more artists every week that don’t want to let anyone hear their music because they’re fearful of copyright infringement. This article is intended to help those folks feel more comfortable about getting their music out there. In it, Anthony discusses opinions on copyrighting your music — but it should not be considered legal advice. If you’re unsure about how the copyright laws in your country will affect you, please contact a lawyer before proceeding.
A lot of songwriters have a fear of putting their songs out into the world. A big aspect of that fear is that songwriters are afraid that if they put their songs out there  — where ANYONE can hear them — another songwriter will come along and steal their music. And that would be a great injustice.
Because of that, I want to discuss why that fear is a tad irrational. Let’s start by talking about what would have to happen in order for your song to be stolen and for you to be willing to take legal action.
First of all, someone has to find your song before they decide to steal it. If you’re not great at marketing your music, building a fan base, and driving traffic to your songs, that’ll be hard for them to do, because of the few people who actually hear your music, most of them won’t be thieves. But that in itself probably isn’t a great argument, so let’s move on to the next point.
When it comes to music publishers, if your song’s good, most of them would simply prefer to publish your song instead of stealing it and potentially having to defend themselves in court one day.
When it comes to another songwriter stealing your work, he would have to steal your song and be pretty strict about sticking to what you wrote in order for it to become an issue. You can’t really copyright phrases used for titles or overall song ideas. So if someone wrote a song about the same subject you did, they’re probably within their rights to do so. Besides, the idea itself isn’t as important as how that idea is developed into actual words and music. That’s where the true artistry comes into play.
If you have a fresh new idea, but simply didn’t develop it well, it’s unlikely anyone would want to lift it from you. However, if someone realized you had a cool idea and decided to develop it differently than you did (in the way he wrote his lyrics and music) it would not constitute any copyright infringement as long as he didn’t take your specific words or music when crafting his own song based on your song’s idea. On the other hand, If someone took your melody, or your exact lyrics, that’s a different story. That would be a copyright infringement.
Your music also has to be damn good for it to be “worth” stealing in a thief’s eyes in the first place. If you’re someone who’s never posted your music online (or anywhere else), it’s possible you’re fairly new to songwriting and have more work to be done before you’re crafting songs people love anyway.
Having said that, I’m not saying there aren’t scenarios where songs get lifted, because of course it can and does happen. I’m simply saying that obscurity is a much bigger problem than theft among aspiring songwriters.So if your fear of theft is holding you back, you’re greatly hindering your chances of success. You have to get your music out there. It’s the only way you can succeed.
I’m also not saying that you shouldn’t protect your work. And I’m not saying you should just throw up tons of unprotected music up on the web. But I AM telling you not to get stuck on the other end of that spectrum either. Don’t be so afraid to show people your music because of a crippling fear that someone will steal it and you won’t know what to do if that happens, because that fear WILL prevent your success as a songwriter.
People have to hear your work if you want to be successful. It will greatly hinder your success if you take the mindset of a fearful songwriter. Instead, find that happy medium on the spectrum, where you’re protected, but you’re also promptly releasing all your music to your fans so they can continue to love what you’re doing.
For a lot more useful songwriting information, grab my free EBook here:

The 16 members of a successful music team

shutterstock 93958540 Building a Great Team to Support Your Music Career

[This article is an excerpted chapter from “Get More Fans: The DIY Guide to the New Music Business” by Jesse Cannon and Todd Thomas.]
Talking about a team can instantly bring to mind boring corporate talk, a la the movie Office Space. Rest assured, when I talk about teams, I’m just talking about a set of people who work together — much like a sports team. I promise there’s no company retreat or exercises where you fall backwards and let your drummer catch you. We all know how that would pan out.
Whether you want to make everyone your own personal employee or have everyone working from their own agency, you need a great team. There are many jobs that go into what popular musicians do every day. Everyone has to be on the same page and doing a good job for you to be successful, so you want to find team members who are as excited and talented as you are. Remember, you and the musicians you work with can fill these roles yourselves, even when you’re famous. Regardless of whether your band members all take on a piece of the work or if you decide to outsource each individual job, you’re going to need to fill every role outlined below.
You want to find passionate, self-motivated, driven and competent people to fill each role. Maybe your bassist does graphic design as a hobby and can provide fantastic work for your band. Your drummer may aspire to be a manager one day and want to take on this role until someone better comes along or you need someone more experienced. There is no “right” way to fill these roles, but in the end you need smart, competent people focused on your band’s future. The weakest links in your team always weigh you downA strong team pushes everyone involved to do their best and raises the quality of everything you do. Recruiting passionate and talented people for all of these positions is one of the most important practices you can do to reach your potential and make something remarkable that fans want to talk about.

Members Of The Team

Below is a list of roles you’ll need to fill to make a team. There is no rule that says each of these roles needs to be a separate person. In fact, when you first start off, you may need to fill all of these roles yourself. As you grow, the demands of each job will become too much work and you’ll need to bring in more help. As you build a fanbase, you should assemble team members who do an exceptional job filling these roles and bring them on as these jobs become too much to handle. Throughout this book, I will further explain how to find the right person for each of these jobs.
1. Musicians – Until you build a fanbase and can afford to pay people to do most of these jobs, you’re going to have to do them yourself. The musicians you work with are a crucial part of the team and will be responsible for many of these roles until you can afford to bring in other people. This is how you’ll get things done when you’re starting out and keep your costs down. It’s also important to note that if any of the musicians you work with aren’t too wild about doing this work, the rest of the team may start to lose excitement as well. It’s extremely important for the musicians involved to keep their heads up, take on their roles and keep the ship moving forward with enthusiasm so that all other members of the team feel motivated to do their jobs. Otherwise, they will find a more motivated set of musicians to work for and gain greater returns from.
2. Manager – Whenever you get an opportunity, no matter where it comes from, it’s your manager’s job to maximize its potential. Your manager is the hub that connects your team together. They’re the go-to person to make sure everyone is on the same page and keep your strategy coordinated.
Your manager is also responsible for making sure your accounting gets done correctly, that everyone shows up at the right place and that your whole infrastructure is working well. It’s your manager’s job to make sure something gets done even if another team member is slacking off. In the next chapter, the many roles and duties of a manager are discussed more extensively. Your manager is by far the most important member of your team, outside of those you make music with.
3. Booking Agent – One of the hardest team members to find is a good, competent booking agent. Because of this, many musicians are forced to act as their own booking agents. Your booking agent will book your tours, take care of guarantees and submit you to get on tours with other acts. While this member of the team is usually hard to come by, taking this job seriously is do-or-die for a musician whose fanbase is built through live shows.
4. Lawyer – Once you’re making money and getting new opportunities, you’ll need a lawyer to take care of any contracts that come your way. In general, you’re going to want to deal with a single lawyer for all of your matters. Oftentimes, a band will sign a contract with a lawyer where the lawyer receives a fee on all earnings that the band makes through the lawyer’s help. A lawyer will also shop your music for record deals and licensing.
5. Record Label – If you choose to sign with a record label, they will handle various aspects of your career. In this day and age, this is not the swiss army knife of duties like it used to be. Most labels will usually provide you with a publicist, distribution, some marketing money and–if you’re lucky–radio and video promotion. Most deals will bankroll your recording and help open some new doors for you. Some labels go far beyond these capacities, while others are much less prominent in your career. Every label does things differently and there are few universal standards in recording contracts, making it all the more difficult to assess whether you’re getting a good deal.
While the record deal is thought of as a huge problem solver, these days it’s more of a piece of the puzzle than anything else. If used properly, it can help you advance your career greatly. But if you don’t properly take advantage of your spot on a label’s roster, it won’t do much for you and you’ll be another one of the many musicians who got signed and went nowhere.
6. Distribution – If you don’t sign to a label, you need to get a distributor for your music. Distributors get your music for sale in physical and digital outlets. Many distributors will work to get good placements for musicians who show promise and constantly promote their music. Developing this relationship can do a lot for you.
7. Publicity – Doing publicity is a time-consuming job that takes lots of marketing know-how and relationship building. Writing countless emails and searching out places that will talk about you is a never-ending job. Having someone good at it, with relationships that open doors, is an amazingly valuable asset.
8. Radio Promotion – Promoting to radio is still a huge piece of getting your music to break into the mainstream. Doing this on your own can be difficult unless you just want to focus on smaller radio outlets and online radio. But independent artists can still do it effectively, especially as online radio starts to dwarf terrestrial radio.
9. Video Promotion – Getting your videos promoted can be a huge step in gaining more exposure. While promoting to traditional TV outlets is nearly impossible to do yourself, you can get around this by utilizing online video promotion–by far the strongest method for promoting videos today.
10. Graphic Design – While musicians will use the talents of many different designers for various duties throughout their careers, it’s smart to employ one person who can deal with the many graphic needs you’ll have. Websites, advertisements, stickers, merch and album art all need graphic work. This can get expensive fast, so developing a relationship with a talented artist or learning to do it yourself is necessary.
11. Web Development – Sometimes your graphic designer can also be your web developer. No matter what, you’re going to need someone to handle the more complex web coding duties that arise. These duties can also mean developing marketing tools for contests or making you a great website.
12. Publishing/Licensing – Your publisher can do a lot for you in terms of getting placements, licensing deals and making you money through these avenues.
13. Merch Fulfillment – You’re going to need someone to make your merch and send it to people who order it online.
14. Recording Engineer/Producer – While musicians will change this up from record to record, having a constant person who can help you record alternate versions of songs, blog content and provide quick edits for placements is a plus. Learning to do many of these duties for your own music is extremely helpful.
15. Videographer – If you’re going to do YouTube updates, acoustic videos, music videos or any other type of video content, someone is going to have to film and edit them.
16. Tour Crew – If you are touring with a live band you will need a crew that handles many roles like tour manager, merchandise, guitar and drum tech, soundguy, lighting technologies and countless other roles depending on the size of the tour.
For more information about these roles and how they support a DIY musician, check out Get More Fans: The DIY Guide to the New Music Business by Jesse Cannon and Todd Thomas.

Music Biz 2014 will return to Los Angeles May 6-8

NARM & are pleased to announce that the Association’s annual confab will be held Tuesday, May 6, thru Thursday, May 8, 2014 at the Los Angeles Hyatt Regency Century Plaza.
We’ve listened to your feedback and have condensed the length of the event to just three days, allowing for less time away from your businesses, but still ample time for private meetings, networking, workgroup sessions, and educational programming … all the elements that more than 96% of attendees tell us they value the most year-after-year.
Stay tuned for more announcements in the coming months and be sure to mark your calenders for the music industry’s premier business event.
In the meantime, be sure to check out our Music Biz 2013 recap page.

Music Investment Hits a Swift & Sudden Slowdown

Consider this sudden shift: in late May, year-to-date financing of music startups and companies was more than double the same level in 2012.  By the end of June, it was suddenly 10.3 percent below last year’s mark.
Things are suddenly moving in the wrong direction.  During the first half of 2012, total music-related funding topped $238.8 million, compared to $214.1 million in 2013.  The new comparison look like this, according to funding activity tracked by Digital Music News.  
Tilting the tables last year was Sonos, who grabbed a lofty, $135 million round in June of 2012.  That was complemented by several, low-millions rounds during the same month.
But wait: what about that $40 million round just secured by Shazam?  That’s a lot of cash indeed, though last year, July funding exceeded $100 million (and July is almost one-third over).  Earlier, YouTube confirmed a sizable investment in VEVO (rumored to be in the $45-50 million range), though that was actually counted back in January (based on very credible rumor).
And with that, here’s the running tally of year-2013 rounds, including the injection for Shazam.

How I Bombed On Stage

At a recent show, I wanted to do something so drastic that it would impact and inspire my audience to face their biggest fears. To do this, I knew I had to lead by example, so I faced MY biggest fear, right there on stage.

Face your fear on stage

I shared how, at 10 years old, I had a piano recital at the grand auditorium of Phoenix College. There were four other kids my age who were giving impeccable performances, and I was going last. I sat down at the piano, nervous and scared that the worst would happen. And it did.
Just a few seconds into the piece that I had memorized, my mind went blank. Recalling the lesson that my father had taught me to never stop playing when things go wrong, I kept on. The sad thing is, I was improvising, but it was an absolute train wreck. I kept playing and playing, wanting only to run off stage in tears. And when I got to the catastrophic end of the song, a most deafening silence filled the room. In that moment, I looked up and saw the disappointed look on my piano teacher’s face that reinforced my feelings of failure. That was the last time I played piano in public for the next 25 years.
Until now. After sharing that childhood story during my recent concert, I told the audience that I was ready to face my 25-year fear and play piano for them on stage for the first time since that dreadful day. As the lights dimmed, I sat down at the piano and my heart started pounding, my fingers started shaking, and I had to take a deep breath. And then, I started playing one of my new songs, and as I sang into the microphone, I felt like all of those years of anxiety came soaring out of me.
And after playing the piece flawlessly, I hit the final note, stood up with my arms in the air, and felt like I just conquered the world! Indeed, I had conquered MY world. And then… the audience went crazy, and I could see my mom and my wife with tears in their eyes. Right there, in that moment, I had broken through my fear and it was even more exhilarating than I ever imagined it would be.
Now I’m here to tell you that it’s time to pick YOUR biggest fear around your music business and face it head on. Why? Because it’s the very thing that’s been holding you back. It might be around getting your music out there, networking, contacting venue owners, making more money, performing, or being rejected.

I love being on stage and performing. It’s my home. But playing the piano in public was the scariest thing to me. Until I did something about it. Now, are you ready to conquer your fear? Fear is the only thing in the world that gets smaller as you run toward it. Go forward. Be the dream.
Thumbs down image via
Tiamo De Vettori is a music success coach who has spoken to over 47,000 people around the world at colleges, universities, conferences, and seminars. He has been featured on FOX, CBS, NBC, and MSNBC, and was named L.A. Music Award’s “Singer/Songwriter of the Year.” With a passion for empowering independent artists, Tiamo teaches musicians, singers, and songwriters about new and creative ways to make great full-time income with their musical gifts. Click to receive his guide, “Musicians Money Making Secrets,” for free!

Read more: How I Bombed On Stage (Face Your Fear and Move Forward) – Disc Makers