Tuesday, March 31, 2020

Don't panic stay calm

I can't really complain we are doing pretty fine in the Covid 19 crisis. So many are suffering so much more. But I can easily see how artists are going bananas over things that are really not in help for them.

Think that you can pick up the money that you lost on live concerts by asking your fans to stream your music more. I see a lot of these posts about "support your local artist" and a link to Spotify. First of all Spotify ahs a limit on how many times you can get paid for a song streamed from one account. How many it is is a bit uncertain. before it was ten times but with the new cheating discovery, they lowered the number quite drastically. Rumour says it's three.
So it can be very contra-productive to ask fans to start playing your lastest song on Spotify.
Also what is streamed now will be paid out much later. So to calculate that you can get this money to cover your lost live show in April is wishful thinking. Besides that the streaming hasn't gone up if you look at the numbers that have been presented from the countries hottest the hardest like Italy, they remain around the same. This is more of an annoying behavior.

Stop doing streamed concerts. Sorry, it's already overdone. Even Facebook seems to have reprogrammed their algorithms to not get more spread on live streaming it looks like. I have seen quite many of these shows and they are utterly boring. To be able to do it right it will cost you a lot of money and technical stuff to do it. Try not to be a dead fish following the stream.

I also see a lot of artis5t doing crazy stuff. like playing live on an empty square.  Things that are cool to do, if they did it in normal times now they just do it because something needs to happen. Most people are in their bubble now and really don't respond that well to crazy things. This you can do in normal times. Being a smartass right now? You should do this all the times not just right now.

Update things! We got bombarded of artist that has to much time on there hands and suddenly want to fix things that have been laying around for ages. I just saw that Spotify had out that they can't verify accounts as fast as usual. Sorry, if you are lazy enough to haven't done this before. your career is not important enough. Don't then overwhelm companies that already are in a struggle with shit stuff just because you have the time.

So what can you do? Start to be creative. Time to stay at home write songs. Do new stuff. Plan what to do when things are over. Make those lyric videos that you should use later. Start to plan the new homepage. Right now is not a time to be seen or heard. that will be a perfect opportunity later but if you are going to withstand the whole wave of opportunity you need to have things prepared. Not you lost bio or stuff, new material.

Thursday, March 26, 2020

Keep calm, move forward.

Got another mail about a live streaming concert. Sure a good idea it's just that EVERYBODY is doing the same thing. Another problem is that most live streams I have seen are not really thought through. It's mainly from the rehearsal room and looks like you are peaking into the artist rehearsal session.

I don't think it's time to draw up new projects. Like the artist I spoke to yesterday, they were doing a new Youtube channel and was aiming also to get some placements. Projects like this will take time. A channel takes a year at least to get some recognition. same with a placement. Even if you got lucky to be placed this week, the money doesn't come around until in the autumn.

Stick to your old projects. Yes, your live shows are off. Time to write new material. Get some new photos, update all your existing social media channels. Don't go around and think someone will do things for you. Right now everybody knows as little as you do. Back to your things, where you are in control.

Stay way though from writing tunes about Corona. Already it's overdone. Yes, I know the isolation could be an inspiration and many people are going through the same as you. At the same time, this is what 90% of the artist will write about and you are already a bit tired of the Corona newsfeed. My tip-off here is to write about something completely different or be smart enough to write about it but not straight forward.

Wednesday, March 25, 2020

Interview with Ömer Akay

An interview with one of the driving forces of the bigger indie labels in Sweden. We are going through how they find artists, what makes them tick and how the climate in the music industry has changed. Listen to Ömer Akay from Despotz. Both on Spotify and Youtube.

Tuesday, March 24, 2020

If you ain´t first, you´re last.

Why do everything just half? What’s the point of going to a just one day on a four-day conference? Why just write a perfect song and then record it on 8 track recorder with the wort possible sound? Or having not an ok song and then enter Abby Road and think they will fix the problem.

If you can’t afford the whole thing. Either don’t do it or put everything on the same level. I don’t know how many times I have gotten an artist approaching me with a recording for 10 000 dollars and I ask how much you will spend on PR? And they have spent all their budget on their recording.
Or artist that take all their money going on a showcase festival and can only stay there the night they play with no one else to pick up the contacts. And they spent all their money so they can’t even follow up any opportunity the festival actually gives them.

Too many don’t really get things done in full. They cut corners and think it will work. And, it’s actually doing the full job is the things that actually get you somewhere, the half-done job is just a waste of money.

Most are just waste money and time mainly because they don’t really want a career; they are in for the hobby fun. The problem for professionals is to try to separate these hobby people. And they are doing their best to disguise themselves, so it won’t be easy.  All the time I meet artists claiming they put in as fulltime and will go any lengths to get somewhere. I guess this is the first lie in so many cases.

To win a formula one race, you need to go full throttle. You can be a bit slow and just take it easy and then try to win the whole thing. Of course, you can’t go full throttle through the chicane then you crash. And you can’t go full speed and then stop and wait for a couple of moments to eat a burger. Most important you are NOT winning the race by yourself. Without the pitstop team and sponsors you really NOTHING.

Here a thing like this seems very obvious. In the music industry, it just seems lost. The most simple matter is hidden under that music is special and it’s about feelings and passion. No, it’s not. The formula one driver has a passion for driving and probably has done a hell of a lot of things to get to even race on that track. Stop pretending that we are special in any way. This is there act the same thing. If you are going to be at the top. You have want to be at the top. You really can’t do it halfway.

So, in the end I just quote Talladega Nights: If you ain´t first, you´re last.

Can we bring in the one that really wants something for a change? Not just the sing songwriter that feels that blue is not my color?

Friday, March 20, 2020

Tired of the non artists complaining!

What really makes me cringe is when people take advantage of the disaster itself. When filming the movie Fitzcarraldo the director Werner Herzog tells in interviews later that a crew member got seriously wounded during the shoot in the jungle. The whole crew was running around and try to aid the hurt guy. The main actor Klaus Kinski though calls on Werner and when he gets to him he shows that he is hurt to by a splinter in the finger. Werner explained it later that Klaus probably felt that the limelight was not on him.

I get the same feeling when artists scream out online about their canceled shows. The funny part is that the ones that really scream out almost don't have a career and really not have much to lose. The ones that really getting struck about this are kind of quiet and then they come with some solutions with smart things like online concerts and other stuff. Yes, that is why they are successful and not the others. They solve the problem.

Sure it's not easy to lose stuff and the situation is not good. Still, the ones that really will loose on it, like the staff at the restaurant, the people in the ticket office, technicians and so on I don't see them complaining like the amateur artists that playing like a Shakespeare drama online how bad it is for them. And yes for the others it's theri real job, it actually affects them and I see so many coming up with good ideas and solutions to fight back. It's very impressive.

What's not impressive is the DIY artists. Right now it goes around a letter telling us that Spotify founders should make a fund for the artists since they got the wealth of their music. Here again, signed with a majority of non-artist. Sorry Spotify made it through around ten percent of artists on the platform. And those are not in that crisis for the moment. They probably will care more about their poor employees that they have that will lose money on their canceled tours. I really don't feel that Madonna is in any financial danger closes some dates. I feel though for the festivals, venues and the workers who should have hosted it. Those are suffering.

And maybe with time, this will change. The first to scream is the one that was really not in and barely doing it. They fall off first. And that what we see now. The other ones might start to tell their story later. Those I will listen to

It's like many years ago there was a big fire killing many young people. The days after the fire suddenly some half unknown artists started to do a song where he donated some of the percentages of the sales to the victim's family. The feeling that you got was more that he wanted to resurrect his career and make a couple of bucks out of the disaster. This kind of thing really makes me cringe.

It's like in the disaster the silent ones are the most hurt, the screaming ones are hurt, but not as bad since they are able to scream. Right now there will be people that need more help than the average DIY artist. I feel this crisis will be a divider of the ones that are just wannabees and the real artists. The real artist will adapt the other ones you find later working in government programs.

And in the end, there are more important places that are suffering during this crisis. The hospital personal are really hard-working heroes. All people that keep functions in society going, they are amazing. I just cringe around these attention wannabees. And like someone said, yes price under is a bit high.

Thursday, March 19, 2020

I'm seeking a artist that want to break big! Round three!

Here is the final round what I need to break and artist in the world. If you have read part one and part two and thinks I’m mean to artists, well you are not up for the task so stop reading and go back to your normal daily job, you are like Harry, Harry doesn't mind, if he doesn't, make the scene. He's got a daytime job, he's doing alright!

You need charisma. Not really, we can work on that as well. Yes, you will be someone else. But know what most artists are. Dolly Parton is not Dolly Parton. And the girl next door will never break big like Dolly. Still, I have all the knowledge where to find all the people to get these things right. Sometimes an artist is a persona, quite often really.
On the whole, it’s more important that you stick your guns then think that you need something special. To many bails out to early on either style of faith in the project. That is the biggest risk in building a career. People just doubt and try to take some stupid shortcut.

What I really not need is anybody that just should be mediocre and try to fit in. I need someone that doesn’t take themselves to seriously. I need someone that can burn all bridges to be on that stage. A person that wants that audience. A person that can take handle the tools I have to use. The trail won’t be the same that everybody else takes. No, this one will be a new one. The truth is that is all artist careers, a new thing. Ramones was not entering a cool club when they entered CBGB:S, they made the place cool.

Finally, you need humor. It will be hard, but a lot of fun. Many of my old clients come back years after and just tell about all the memories they got from the journey we did. That though comes afterward.

So when can we start? Tomorrow I can get things going. My problem is how you are going to show that you actually have everything I have been writing about in these three episodes.

Why I’m the right person? Ask yourself if any of the people that you know in the industry actually are invited to one conference a week just to speak about their knowledge? That is 52 conferences in a year! Do they have a network that is spread to all the continents around the world? Has been on boards in all different unions in the music industry? If the answer is yes, stick that person. In 99% of the cases, it’s a no. I have been around and just seen it all. Built a network that now is ready to do a big thing. I’m looking who wants to tag along. Listen to the advice and not try to invent the wheel again. A career is an input from so many sources it's never brainchild of an artist. Sorry to have made that illusion to crash. How successful is where these sources come from.

I’m not here to make a boy/girl band that comes around the break and then goes out on solo things.  No, I’m here to make one final stable career. I have all the tools I just need to find the right material. I never thought that an easy task was so hard.

So if you are up for it you know where to find me!

Tuesday, March 17, 2020

It’s end of the world as we know it.

I guess the writing around Corona is too much. And yes, I wrote around it when SXSW closed. The truth is that no one really knows what is going to happen. And it might not be as bad as you think.
There will be like 9/11 a before and after Corona. 9/11 affected a lot of security and border issues, Corona will directly affect the music industry like nothing really before it has. Record labels, studios, and publishers will be fine. Here it is the live industry that will get the big hit. The live sector is still the biggest part of the music industry over fifty percent in most parts of the world. Also, this sector hasn’t had so many problems before. Just that we closed smaller gig places. That hasn’t affected the big companies, Corona has just affected them big time.

The government says they will help companies with different things. Even with that said the hotels, theme parks, and other things are huge giants even compare to the biggest booking agency. You must calculate them as small companies and they will have the hardest time. We can see a lot of structures in the live industry going to change even with government involvement.

Right now, it’s very hard to predict who everything will unfold. It depends if this state of emergency is on its peak and how long it will be going. The longer the bigger effects. Just this week the companies started to squirm a bit and that is just a week. We don’t know if these companies are living on the edge and a break in the income is breaking them after a week or do, they have a stash of cash to survive in six months?

These are the guesses that I think might actually happen.

First, don’t look at it as a disaster. Music will not die. In Italy, they sing from the balconies. What can change is the structure. When structures change opportunities will arise. Look at this as a giant opportunity. Go with the flow.

The big live company’s power might be over. Their big arenas might shutdown and contracts for these might be up in the air since they might change hands of ownership if they can’t come back after the crisis. One scenario is also that their staff that they need to fire on the big concert arenas might find new work and not coming back which could make them lose contracts. Here are opportunities when it goes back to grab things if you want to move into that section. One of those things could be that people that are laid off start new companies that have an inbuilt knowledge to take over the arenas.

The live industry will lose people because they must minimize their structure. That will free a lot of new people that are quite trained that will do their own thing and hopefully that will divide the market into smaller sections. Witch is a good thing for musicians and artists. Maybe bar personal that were working there now sees an opportunity to open their own establishment when the crises will open up for new renting contracts and a structure of smaller places in the beginning.

People will change their habits. Suddenly they will consume other things. During this time, they might find new tv-series to watch and other ways to communicate that will be holding on. These will be new channels to put your music in. Maybe smaller establishments will be cooler because people want to have a good time but closer to home. We might see a new wave of clubs to perform at?
Smaller venues will come back first. People might think this is charming and start going there instead of the mass things. New things will arrive. Old festivals and institutions might go bust and in that new things will rise and that is always a new opportunity.

The only thing we can predict is that it will be changes. A before and after the Corona outbreak for sure.

For me it’s business as usual. Instead of the meetings and live things around the world I got my opportunity to really start the radio station Cashbox Radio in full force this week. Everything bad has something good with it. It's the end of the world as we know it, not the end of the world.

Thursday, March 12, 2020

I'm seeking a artist that want to break big! Round two!

Here is the next round of this, what I need to break you big. In the first episode, I took up that we need good songs. But we can get them if you can't write to them. You need to fit the team, do what we tell you and don't really question it. The money issue....and now over to the patience.

I need you to be motivated. if you are just in to be recognized in your local grocery store. We are not on the same planet. Get yourself a spot in any docu-soap. No, you need to be passionate about it. This is a lifestyle not a phase in your life. You need to wake and think about how you can get your music out there. That is not the question you should ask me. I do my job and that will get your music out. You still have to come up with things yourself. I really don't need an artist that sits on the sofa and just wait for the opportunity to just jump in from the balcony dancing around and paint themself purple screaming "I'm a great opportunity".

I need you to believe in me. Don’t be like Dory in Finding Nemo and just look anything shiny along the way. Don’t be to upset when we move along from that nice producer you liked. We are on our way to the next step just looking forward not looking back. We will have time to look back later. Yes, you need to sign a contract with me. If that scares you and you need some trial period or anything you are not up for the task, next, please!!

You don’t need to change things either. The network I have can’t be taken over by you. No, just because they are nice to you, they won’t be your friend and that you can do this by yourself. This is built on thirty years’ experience. Yes, you can take it over if you do that but then you are a manager, not an artist. Your job is just to be nice even if there are a-holes that I present you to and you don’t agree with what they say. You will be fine, I can sort the shit talk, you can’t I promise you that.

Just because I take you on this journey, I’m not your babysitter. You must fix problems. I don’t care that you don’t have a case for your guitar for the flights. You just have to fix that. No, I don’t want to beg you to fix it either. You fix it straight away. If I say we have a gig in London in a month you don’t tell me that weekend you have an anniversary with your partner and you have trouble getting out of work earlier. You just fix those things. The question is what flight I take and if we should go on some meetings while we there and if you are needed for some introductions. No, you are not in London to buy clothes, take selfies to your Instagram account, you are there to work. If you are good at it you will be able to do both, but you need to work hard.

Work hard, yes this is not the trip for the fainted hearted. I have done it before. Yes, I have been fighting with guards, been thrown out. Almost crash-landed with my flight. Been utterly sick on tour. Been on gunpoint of crazy bar owners, chased by the police. Even meet the guy with a hook of a hand on Motorheads tour bus. I have been there done that. Let’s go on the ride. And at last, no there is no free time. I even work when I travel so, should you! Are you afraid yet? …if not there is more.

Wednesday, March 11, 2020

Tuesday, March 10, 2020

I'm seeking a artist that want to break big!

After 30 years working with major stars (yes, I worked with four of the twenty most streamed songs worldwide) and with small upcoming acts (I have started two of the biggest showcase conferences in Scandinavia). I know how to get an artist successful and get them to be a top star.

The problem is not how to know how to do it. The problem is to find the raw material to mold an artist to become that. In many cases right now the industry just takes chances. Throw out a hundred artists and then see what sticks and how long we can take them and then dump them when they get tired. That is not how you build a new Michael Jackson or Queen. And the industry knows that. The fact is that the new industry has a hard time to find the material, much because it’s going to hold for a longer race. 

What do I look for then? In three episodes I will try to explain that. Because I just can see that hundreds of artists right now think they are the ones I’m looking for. But like Carly Simon sang, You’re so vain. Here are the criteria.

You need really good songs. Yes, you do, but if you don’t (which most artists actually don’t have). We fix that and get the right writing team for you. Here so many artists will fell off. The first half thinks they actually so good songs that are not needed. Still no not all of them are even close to the big songwriters. That is, the way it is. You really must write a lot to become that good songwriter. The most artist just writes fifteen songs and then head into the studio. The other half is ok to write songs with others. Of course, just established ones. They straight want to get into the studio with Max Martin. You are not ready for that either you need to start at your own level. I would put you together with experienced songwriters but new ones. The ones that are not discovered yet. Why? The price tag is too much for a very established one. Also, you are also learning while we are doing it and I won't pay extra for your learning time with Max Martin he doesn't have time for that. Britney Spears probably never heard about Max Martin when he wrote "Oops I didn’t again" for her. What I need is an artist open enough to get to know new people that can come along on the ride, and not are your old friends that you have written with before.

I need an artist that can fit the team. Out with the diva things where “I'm the star” no, I’m not here to babysit an idiot. You have to listen. I’m the one that has the knowledge and been around. You've got the brawn I've got the brains, let's make a lot of money, like some pop star said. If I say I need a song that is 3:30 don’t show up with a five minutes long epos. It’s not what I need, and I really don’t have to explain my work. I just need the song.

Oh, you wonder why 3:30 not 5, easy radio has a hard time to play over 4 minutes. It has nothing to do with your artistic integrity. It’s that I must adapt to the reality of my PR people. I can put your epos on the b-side, no worries. But if that gives you hard feelings get out of here!

You need to be in for the long run. Success doesn’t happen for six months. You must be able to spend at least five full years with me. Yes, my rule in five years. I really know what I’m doing so just shut up and tag along and we will be fine. I know every step and the steps you are longing for is in year three and when you hit year three those are not your longing any longer, they will be on year four. You will be in sync of what you are longing for in year five and that is where you break to the big audience. Before that, we will do things that you find kind of strange. Like, play obscure festivals in India. Play in small venues and festivals etc.

Money, yes you need that. You don’t have to be a millionaire or paying me a hell of a lot of money. I will take the risk and work for percentage; stupid I know but I can take the risk. You need your money for the traveling and the stuff that I will throw in front of you. No, you don’t need rich parents. I won’t be on stupid expensive things. You need to have a steady income. You need work where your boss is okay that you will go away from time to time to other things. That is all. This one is really hard, sounds easy but it’s not. Your boss finds it cute the first time you want time off then it will be harder and harder. And this should just be a job nothing that you hang yourself upon. So the excuse I don’t have the money to do this is not okay. You are not just for the task. Believe me, I have been there. I lived out of noodles from Tokyo for three years just to be on the spot I’m in right now.

Okay now to next one, have patience….so to test that the nest episode comes next time.

Saturday, March 7, 2020

Cancellation of SXSW

I just read that SXSW canceled their event this year. A massive decision that involves a lot of money. 355.9 million dollars to be exact. It’s hard to predict how this will affect the whole festival. At the same time how it will affect other events. Here in Sweden, they are thinking of closing concerts that are above a certain capacity. I don’t know the capacity, but rumors say over 5000 people.

These things can disrupt a lot of things also the consuming pattern. People will change their plans and make others and do other discoveries. I guess I have written it before that every ten years it is a big change. And all the time I couldn’t guess what it would be. This time its globalization. The environment question and that we are so globalized going everywhere is creating a new pattern.

How it will look like is also impossible to tell. The effects usually go in very strange ways.

Like now all the people that would have been on SXSW, might need a new meeting point. Or will the virus keep hanging in so long that everything will be pushed to next year?

A professional guess is that the money will talk. Right now, they can do this but canceling big events the whole spring and summer would kill so many businesses that it would create a global financial depression. They come up with some crappy fast produced vaccine and suddenly it’s business as usual. The question is if the recession happens can we stop it.

For music usually, financial depressions are good for business. Yes, I look onto this very cynical. Music is thriving in a bad political climate and during hardship. That brings out good songs with meaning and passion. You just hope it doesn’t kill anyone just to get good music.

Maybe also this could run to smaller events. I skipped SXSW this year to go to a smaller conference. Much because I would do more business at a small conference. It’s part of the new plan I have for my festival touring. In this case, it was a good decision, but I feel for my friends at SXSW. This is not a good situation for them. The thing is that smaller seems to be better in this new global economy.

Wednesday, March 4, 2020

How to get signed to a label

I don’t know how many times I will write about this. I feel like a parrot, but since I still encounter the problem so frequently, I can write about it again.
No, your goal should not be to be signed by record label. Unfortunately, I meet so many bands that their sole goal is that they want to get signed by record label. The problem today is that record labels really don’t invest in new artists. They don’t have to. With the new tools, they can follow you and when it hit off, they just go for it. The major complaint I get from record labels is that it’s more expensive to sign artists today since they are further in their careers.
Another thing that has become a reality is that labels more just want to build a catalogue. If you have a large catalog even if a song just draws one dollar a year if you have a million songs with one dollar it is still making a million dollars. This is the reason why the headline last week was that they majors actually get a one million dollar each hour out of streaming. My guess is that 95% of that is back catalog that they have bought in. Not many of the new things they they had developed are part of that number. And you have to think that Taylor Swift is actually a DIY artist and not counting.

The backside of that, of course, is that they don’t want to invest. And they don’t need to. Either they own a studio and make you record there. Really not much cost for them. Or they just put that cost over on your side and force you to come with a ready product. And the cost of recording nowadays can be very low.  And since the song really doesn’t matter if they go that high with the song, they really don’t spend money on marketing either until the song starts to move. More or less they threw it against the wall and see if it sticks. Many of the new contracts I have seen is the artist is signed for giving out 10 to 20 singles in one year. It’s impossible to do proper marketing on a project like that. The singles will interrupt each other. This is a good sign that the label just hunts catalog and will try the stick to the wall tactic. Most of the time if it sticks it’s actually work done by the artist or their management. That is free labor for them.

Yes, management is the new risktaker. Here you find people believe in the artist and their music. Their job is to build it up. The problem right now is when you build it so far that the labels come around, you already have built up a venture that is generating money so split that income with a label that mainly wants to build catalog is not that lucrative. Lately, we have seen many of the bigger new stars just saying no to the label at this point. Also, the managers have become more aware that if they put these things over to the label the whole enterprise might just fade away because it’s built upon the management contacts, not the labels contacts.

The problem is that just this week I had over five conversations with mangers that getting crazy about artist nagging that they should be signed. It’s like the artist thinks that the signing makes things magically happening. I usually just say, they get signed with my label if it’s just the name and paper. Then it crawls out that they want to be signed to a major label that invests in them. That is just like believing in Santa Claus. Since all your numbers are out there, there is a good reason why the major hasn’t knocked on your door. The hard-cold fact is that you are not ready yet and haven’t done the homework. Now it’s more the label finds you; you don’t find the label. Especially not a deal where it says they going to spend money on you, then you really must have a good steady cash flow. In fact, if a label really wanted to invest it’s much safer to build a boyband that they control everything. But in the same way why should they? It’s a lot of work and risk and with the tools of today, they don’t need it.

Right now, many labels go for older artists that had hits twenty years ago. Why? Because it’s safe. Their songs will be streamed somewhat because they are a name. And it builds the catalog. An upcoming artist with mediocre numbers, they can easily see is just a cost.

My guess the main reason why the artist is nagging around it is that they are tried to take the cost for their own career. Yes, today it takes a longer time and you must have the stamina. Don’t waste your budget on one nice video. It’s better to do ten low budget ones. Yes, it’s not that flashy but you know what if you just in for the flashy and be famous you have an easier job to be a Youtuber. The ones that will make it are the ones that keep pushing their thing and just finds the money. The 80:s will not be back when the labels signed mediocre artists for tax cuts. You need to be in this business because you want to work with music and entertain people.

Friday, February 28, 2020

Cashbox Radio discover MMB

Soon it's Mastering the Music Business in Romania. One of my favorite festivals. I did a special show on  Cashbox Radio around all the bands. Here it is as a playlist on Spotify and Youtube. See you 17 to 19 of March in Bucharest.

Thursday, February 27, 2020

Don't bail out to soon!

-We have done so many free gigs we really need to get paid for this tour.

I was talking to a manager. She had asked me to give some advice on festivals this summer and I had asked for the conditions on the tour. This was a hard-working project. Both the band and the manager had put up both money and time to get things going. But in some many ways, they had spread the cost in different ways and now the shortage of cash was stopping them to get on the tour they needed.

The problem in this case, was that they had spent money on things they really didn’t need to spend that much on. Early in a career you really must be a cheap bastard that no one likes and actually save it for the future. The hard part is to tell when you should spend and when you should not?

I know they had spent quite much on a recording. Here is the general rule if you spend an amount on a recording you just must spend equal amount on marketing to get it out. Most tend to think that marketing is something you get for free. No here is where you really must spend. So, if you get your recording shiny, then put the same shimmer onto your PR. And that is the first thing that came up and bit them. The cost of recording had lowered their budget so they couldn’t take the free gigs that are needed to make the PR to the audience to buy/stream the recording.

Here comes the next mistake. They put over this problem on me. I should be able to bring in gigs that are now paid. The problem is that the recording was the tool that should secure these paid gigs. Now they are just an unknown band with a shiny recording. For a festival, they won’t sell any extra tickets. Even how good they are or how shiny their recording is, they won’t sell anything. People might discover them during the festival but that doesn’t help the festival or the gig place budget. Then they must do a favor and just put them on and hope that the audience then will remember them the next time they put them on. If that is even in their festival or gig place let say they gave them the chance and next year when they sell tickets, they take another bigger festival.

No better to pay for an artist that is selling tickets. So here the offer you can do is having PR money to play for free to just have the chance. The problem is that you can’t do that forever either, so you must have a good plan to do this wisely.

This mistake of trying to get paid to early is I think the most common problem in the business. And I see it from many angles. People think that after volunteer a small bit they can jump straight for a full salary. Or that the job that you are doing for a band suddenly can have a high price tag. And of course, the band that thinks that they could get the same price as their home turf on a new market. The whole thing is an investment and you are in for a long race. Yes you need to spend but do it wisely.

Wednesday, February 26, 2020

Interview with The Riptide Movement

This is me testing out to do an interview with my equipment. Sounded really good, thanks The Riptide Movement taht did it even though they had a heavy cold. And this was done last year, but with the arrangements of the station, it was broadcasted during February. Here is the playlists on Spotify and Youtube

If you want to hear Cashbox Radio live go here https://www.cashboxradio.ca/

Tuesday, February 25, 2020

Finding Dory in an artist!

I just assume you have seen the movie “Finding Nemo”? Well in it you have the fish called Dory with a very short memory and can easily be distracted by something shiny. I was in a meeting with some industry people the other day and they compared artists with Dory. Not so nice, but unfortunately very accurate.

We where talking about some artist that was not so active. And the solution was to distract them with something shiny. But it must be something unharmful shiny they added. The thing was that the artist is always looking for the next thing. If they’re on a label and it’s not going in full speed (it seldom do, and when it does they complain that it goes too fast) another label comes around and that label works like shiny things for Dory, gets the artist full attention for a little while. So, the dangerous part is that they would go with the new label, but they need a shiny thing to keep going with the old label.

It’s very true. I see a lot of artists sitting on a label doing nothing, in the end, they depart and they find a new label and suddenly all these things they were supposed to do when they just sat on the sofa just adds on. But also, it’s usually very short-lived. Like Dory has a short memory it’s the same with the activity around these artists.

This is the reason I don’t like to take over a project from someone else. The short-lived injection that just ends out in nothing. So, when I’m looking for new artists, and yes, I do, we have some open spots on the company that we need to fill with good things. I look for an artist that has a focus that is, longer then Dory’s memory. The focus has to be there. I feel so many are not focused. They tell you that their career is everything and they really want to work with music full time. Still, they can’t take time off work for an important show. They hare not willing to work hard to find the money to play abroad at an important event. And they always have a hard time to find time to have a meeting with you.

Clearly something is holding the focus. To be in the position I’m in right now I wake up every morning thinking of all the stuff I’m going to work with over the day. Today it has been planning a huge gala on the other side of the world. Putting a playlist for the radio station. Booking a festival for one of the bands. Answering some emails around a license to a film and tv series that I’m involved with and listen to some new artist that had applied to our festival. Shattered no focus? No everything comes back to my career in the music industry. Scattered would be if I spent time looking for furniture for my new summerhouse or thinking of things of another job or worried about my car not matching my 40-year crisis. So yes, you can be scattered but as an artist, everything you do has to come down to your artist career.

Thursday, February 20, 2020


You really don't to be best to make it in the music industry. It's not like running 100 meters on the Olympics it only counts if you are the fastest. Even better if you break the record to be the fastest in the world. In the music industry, it's not like that.

It's not to be the smartest either. You surround you with inspiration and you steal things in a nice way and you will be fine. You really don't have to invent a new instrument. Here you just take things and elevate them a bit.

The big issue is that nothing goes fast in the music industry, nothing. It's always delayed. At the same time, it moves so fast so if you leave it for a year you are totally out. In the whole equation, you need to have stamina. Stick to your guns, and do it well. Soon you start to ruck on that you are on unsteady ground.

You are not in charge when your break will happen or how it will happen. That is all up in the formula to decide. Really no one knows or can decide that. No one, not the majors. No one! The problem is that you think everything will happen soon. Too many people say it's my turn now. I need to make money on my shows and my music. No, it's not your decision. When your brand and music have that value it will happen. Until then you need to have the stamina to keep ongoing to build that value up. Yes, you think that you have done everything to a hundred percent. In reality, it's just ninety percent. You need the stamina to ten percent more. And actually, it might not even be ten percent sometimes not even fifty percent is done.

The biggest problem in the industry is that no one can tell how close you are to that break. If you are one percent or ninety is impossible to say. Here the stamina comes in. If you keep doing what you do with full passion it is a hundred percent that you will break. You just have to keep doing it and not listen to people saying that you can't. Keep on doing what you do and find a way to get just the amount that you need for money. New roads and doors will open. None career looks the same. It's just about the stamina to keep everything up.

What breaks you is that you start to follow what people say. You become the dead fish that follow the stream. If you do what you love yourself you really don't need that persona or follow the crazy taste changes that the industry presents. Of course, this is in the taste directory. Just be stubborn and work against technical things and be not accessible is stupid. This is about the taste, not that you just give out the music on cassette tapes to be as indie as possible, that is just stupid and just gonna give you that you need more stamina then needed.

This goes for everything in the music industry. I'm here on my journey because of my stamina, not because I'm the smartest or the best. I just kept things long enough and the knowledge that I encountered and the doors that got in my way I just entered.

Yes, I have been totally broke! People have told me to get a real job! People have laughed at my creations! People have ignored me! They still do and will keep on doing.
The same people that said that yesterday are today a failure. Sitting on small shitty jobs in my hometown waiting for retirement in their forties and worry about how they should match their socks. They thought it would go fast and bailed out too early. And never took the chances that presented because they thought a new one would come, they thought it was their time.

I have reached the part goal when my father has stopped to ask me when I would get a real job, and just wonder if I can support me financially on my projects (well I have done it for thirty years).

Everything that counts here is that you keep up what you truly believe in. If you really want to be on that stage. You can be on that stage. the road there won't be the road you thought. Just keep on going and enjoy the ride. You just need the stamina and not play too safe.

Tuesday, February 18, 2020

Self-sabotage and the damager.

-We had a discussion and feel that posting on social media is not our thing. We more like to be a secret band and people post more about us!

The band I worked with had one of those famous meetings. The ones when they sit in the rehearsal room picking up things from some random dude, like the clerk at the local music store, that gave them some tipoff that is totally insane.

Yes it sounds like a cool idea to be this secret band. In reality its a career suicide. Why is it attractive? The main reason is that the band is lazy and really doesn't have the stamina to keep things up and alive. Then this stupid idea sounds really attractive.

As a manager, I can fight this idea. Then, of course, I'm the idiot that doesn't get this new cool thing. Or I can let them try it and slow down their career with a couple of years. And then its always a possibility that they quit.

The problem is also that I will lose sponsors that realize that doing that kind of trick is pointless. And it will be really tough to get them back when suddenly some random dude will tell the band that posting things all the time is the right method. And suddenly they are doing the opposite what they said from the beginning.

I don't know how many careers that are going down the drain of fatal small decision that are discussions in different places of boredom like touring, studios and rehearsal rooms. And you get them a lot. Here are two other famous ones.

- Oh! No one is released during the Xmas holidays. No pr person is willing to help so I will release on my own with no pr at Xmas eve as a gift for my fans!

- No I rather stay at home rehearsal and write songs then play on that showcase and make new connections.

I don't know, but it seems like a mechanism to sabotage your own career. The plunge is too scary so instead, you just take this crazy idea. I just got the feeling that is the case, self-sabotage. Of course, people have released on Xmas before, why you don't know it is because it's almost never successful since most people are on holiday. Sam by staying home writing songs, those artists never leave the rehearsal room and never get anything done. Maybe it's the fear of success taht is creeping on.

Then you have the other side when the manager just goes on any trend that comes around and adapts it for a month or two making the artist waste time on building stuff that never comes to use. I think it was Nikky Sixx that came up with the expression "we don't have a manager we have damager". Yes, history is full of these fatal mistakes as well. Like why have dinosaurs with sombreros on the front cover of Ramone's last album? Threat the Police in the south of USA in front of the record label president? Or how many were not just following when all managers saw that mid-tempo songs worked best on Spotify and ordered everybody to do the same formula?

Here the band has to be creative and do something new, prove it to work to get the manager on the right track. Same here is the manager fast enough to adapt or does it take to long so its time to change?

In the end the best is if everyone is on the same page. Not easy, but in the most successful careers, it is what seems to work.

Friday, February 14, 2020

New station manager!

So it's Valentine's day. No! I'm stuck in front of the computer and fixing things for the release of the new radio station where I'm now station manger. Suddenly Bryan Adams is playing "Heaven". Here it is Valentine's day! And on the other side, my girlfriend is in the other room doing invoices for the company. Both work in the music industry both in our own companies.

Complaining, hell no! I wouldn't have it another way. If I wanted a romantic dinner or anything else I have the freedom to shut everything off and just do that. This is a lifestyle. I'm still in front of the computer is because I have so much fun. I have had skype and messenger phonecalls from around the world today. I got on a couple of new cool jobs that will bring me around the globe again. I don't care that it's soon the weekend. I long for Monday since then  I can start all the things I like again.

Yes working in the music industry is a jungle, really welcome to the jungle. Many don't survive. It's really a lifestyle.

Well now I need to get things going on the new station should work fine by mid of March when we start to promote. If you want to prelisten we are already up at www.cashboxradio.ca then you can hear all our small mistakes that are in trimming. The station is also on the blog page in the top right corner. Love has to wait!

Tuesday, February 11, 2020

This is the reason why you don’t get an answer.

We got a mail to our festival the other day. First with the totally wrong name on the festival. Sure, that can happen in all your cut and paste. Then the letter continues by asking questions that obvious is on our homepage, things like which dates the festival is, what kind of genre do we prefer, how much do we pay for each band. I mean why should I go through the process answering questions like this for a band that we probably are not interested in booking?

So, I just write back a link where all the info around our application process is. And told them that our real name is this.

To be honest, I think we are pretty good to answer these emails. We actually get thousands of just mails from bands/bookers/pr people just sending out from different mailing lists not knowing where and to whom they are sending. It’s part of the game, and that is why I guess 99% are just deleting the emails and don’t answer them. We try at least to give you the right info even though we know it’s just another mass mail out.

Then now two days later the artist goes on to our Facebook page writing nasty things just because we answered back with some info.  This is the reason why so many have stopped writing back. Now we must deal with an artist that is not even in the closest chance to be booked being annoying in our official channels. Yes, it’s much easier to just delete the mails.

This is also, the reason why you never give feedback to anyone sending in a song. Most people probably would be thankful and nice but this small group of idiots that would start to mess up things or start to answer back that you are wrong. You have really no time to give feedback in the first place. Now you are in a position that you should defend your opinions.

So, when you are annoyed that you never get any answers. Here are some tip-offs. Try to be personal. We all hate those mass emails, yes, they are easy and convenient to send out. But you rarely get answers on them.  Okay, it will be quite massive to be personal, but it’s the only way to get a response. I have an e-mail list of over 300 supervisors around the world. Yes, it would be darn easy to just make a send out with a generic email. But I spend two days sending the info as the generic email but add two personal sentences at the top.

But how will I be personal with all these 300 have I meet them all? Many I have met but even if I meet them it’s very few I know that well. Instead, I also spend time going to their homepages or social media and check for updates. You pick up that they just moved or a reason success placement almost anything and you do a nice comment on that. Like: I saw that you just moved office, how is the new place?

You will directly stand out. It’s hard to ignore when a thing like that comes in. Then you also have to get that when they answer back: Thanks, the new place is really great. That it’s not an opening to have a long chat around the music that you sent in. You know they have seen it. So after the answer just put it down until they contact you. Though in many cases I get back other things like, The new office is great, listened to your music do you have more songs with this artist? Then, of course, you are in to send some more.

Yes, this is painstaking to do. At the same time, you also get info. Maybe your contact has left the company and has a new position. Voila, you get in the new person in the first company and hunt after your old contact with the new company that now has a better position. You can also find out other things Like if a festival has changed style, it has a new theme. Information that is good to know.
I wish it could be less time consuming, but some a-holes have made it into what it’s easier to just delete emails.

Tuesday, February 4, 2020

A festival needs curation! Bigger is not better!

I just got an mail from a band that has played one of the bigger showcase festivals in Europe. Before playing at that festival it was a mark that this artist was going somewhere. I meet the booker from that festival last year at another festival talking about an act that really goes well all over Europe and with easy should make the lineup. The booker had a problem though that only around 20% was curated the rest was bought up by export offices. So, it was hard to even get a band that should be on there.  And when I got the link of this artist today, I can really see it. This artist has no value right now. It is not interesting in any way for the festivals. And has no real leverage right now. A typical buy-in for an export office.

And I see export offices with a large amount of money just buy in spots at the festivals. I have seen these artists and they not even ready. In the end, it really lowers the value of the festival. Sure, it takes time for the brand of the festival to fade away, but when it really starts to happen it goes fast. Midem is a great example. A must go in the 90:s and was so powerful you couldn’t ignore it. Suddenly because of really bad decisions in curation, the festival became nothing.

Midem tries hard to turn it around and there are some good things happening but the brand is now almost acquainted to be a place where old publishers that still trade photos and cd:s and drink wine. It’s not, I know that (not all of the participants, in some cases accurate though) since I was there last year, but most of the people I meet in the industry has that vision still. The struggle to reverse that trend is hard.

And I see this problem in several of the big showcase festivals. The curation is really bad, almost non-existing. A large buy up from export offices from very small undeveloped countries thinking that they enter a marketplace where they can export. They are buying a spot trying to shine in the festival brand. This affects the showcases brand and several now seem to be heading the same way as the trust of the numbers on Spotify, straight down the drain. I just saw an offer to pay and play on one handled by amateur organizations in Sweden for a big festival in Europe. The lineup will be not even close to good. The value is definitely gone and in the end, the reputation for the festival is fading away. The real industry people are also talking, that playing on these festivals was before a certain way to get booking now it’s just an expensive adventure.

Then I can also see the point of the festival. Here comes someone with not ready artists but pays half the festival expenses. Showcase is really not a goldmine. The money is really needed. So, at the expense of the quality, you have to do it. And I know everybody is doing that. The feeling I get right now is that it’s has gone over proportion. Two of the biggest ones in Europe is now just "pay and play". What's needed is that at least half is curated or even a bit more.

My reaction is to more or less try to avoid the bigger ones and head for the smaller ones. Many times, better curation. The big favor also is that the smaller ones have much better chances to do business. I rather do really good business than just saying that I sipped drinks at the biggest festival. For those who know if you just attend the big ones you are not important enough for the real industry people. When I write this, I’m on my way to MENT, a good festival with the right size.

And the artist that sent the mail. Yes, the fact that they bragged about playing that showcase festival made me suspicious and probably looked on their stuff with critical eyes. And I just make a mark not to see that show and also take out some festival names out of my band's bio pages.Bigger is not better in this case.

Monday, February 3, 2020

Cashbox Radio discover MENT Festival 2020

If you missed it on Cashbox Radio our special show around MENT festival. Here you have the pod/playlist version both on Spotify and Youtube, I would recommend Youtube since that contains all songs and you can see all the lovely videos.

Tuesday, January 28, 2020

You can always trust data.

Last week Swedish radio took off their Digilist, the top list over most streamed songs. This after a couple of weeks with rumors around cheating. Then an artist did a experiment and showed in a big newspaper how easy it was to buy 100 000 streams in a two week period.

To be honest, I don’t know why this comes up right now. Already in 2013, I knew about some serious cheating done to both Itunes and Spotify. My guess is that this is because the cheating has escalated so much that even the majors are beaten in the game.

“You can trust data”, was Jay Frank's comment. And was said during Billboards new prize The Jay Frank Award to honor a digital music pioneer. And I would have loved to have a discussion with Jay around this situation, I still miss those talks. We had them before, so I somehow know the answer. When the Bulgarian guy was cheating a couple of years ago, we had that discussion. Jay just laughed and said, it’s like pointing a finger against a lonely guy with a handgun while you have twenty-five super big cannons shooting in the background.

We both knew how much the majors were cheating. We all know they did it on a big scale and with different methods. When some creative person did it, well then Spotify acted. Neither Jay nor I approved of the cheating. Instead, Jay looked on a tool that was genuine to get real listeners and real fans and build Digmark a PR service to get playlisted in real playlists.

What happened two years ago inside Spotify, nobody knows. Suddenly all human playlisters jumped off. Everything became algorithm-driven. And it seems like o no one reacted on cheating. I spoke to several distributors that said the same. Less notice of cheating coming from Spotify. And we saw more and more unknown artist just sail on to the charts. All this time no one said anything, so my puzzle is why know?

So, can we trust data? Jay would have laughed at this one as well. Yes, you can. Already now there are several services that can measure data from several points. Look on post a couple weeks ago around that we need a new top chart. Like I wrote there things are ongoing. If you cheat on your numbers on one field, let’s take Spotify as an example, other figures give it away. Your Facebook/Instagram followers are intact and won’t move. Or your streams on YouTube won’t move. And your name is not mentioned in social media. Yet your Spotify streams are on full rise!
All this can be measured easily by these new services and for free. It’s kind of easy to check if your numbers in several ways. If you do it for real, the numbers add up. You cheat, and it will cost you so much to keep everything on track. Yes, all these numbers can be manipulated but it’s very hard and costly to do all of them at the same time.

The data is why you cheat, it also gives away that you cheat. Data just tells what’s in there. But this is the same as you are buying a “real” Chanel bag from the guy on the street for a fraction of the price of the ones in a real Chanel store. The risk that an unknown Canadian rapper has millions of streams, but no one knows him (Hello Manafest!) is too good to be true. And no, these cheaters will not make a career. In the end the game comes back and bites them in the rear. Their songs are not good enough neither their live shows. A career is built on trust with a real audience. 

The problem we have right now is that money is going to the pockets that should not have them. The part of the industry that has shoveled their heads in the sand, telling us that the problem is not that big (Hello PRS:s, Ifpi, Spotify) has just by ignoring probably crashed the path for several artists that was up and coming and really had what it took but didn’t cheat and because of that never saw the light to a bigger audience.

I just wish I was wrong on the last one, but I guess not. In the end, yes you can trust data, so use the data to flush the cheaters out. You can do that and yes you will be stepping on toes. Still can you please add in the majors. It’s not fair they have a monopoly on cheating.

Tuesday, January 21, 2020

The algorithm can’t predict the future!

Well the tech guys want us to believe that the algorithm is that magic that it actually can predict the future in the big data. Maybe in a George Orwell future, it can, but I really don’t want to live there.

I got this idea for this text from a press release of another company doing site with an algorithm that goes on the mood. In this case for sync placements. For me, that feels like 2010 when several companies did that. If you really want that search engine goes top Spotify that found out that people that want playlists just want mood playlists. And yes, sad playlists are the most popular right after workout playlists. The problem that now occurring on Spotify is that the audience is not6 listening to the music they just use it as background music on other things. It’s like the music in the ceiling of the supermarket. It’s there but no one really don’t care what it is you are too busy shopping.

What an advertising firm really want is not just mood music, it’s a cool artist with it. And if they can find someone cool as Taylor Swift for no money at all they will take it. But how can an algorithm find a cool artist? And especially cool artist when you have a low budget?

It’s all about the future. Let say I have an unknown Canadian band with a really nice song. But I also know that this band is booked for these three cool festivals. Also, I know they are recording for a new album that is released around the same time as the commercial and on top of that, I know they will be in the sofa of the best morning show. This info is really crucial. But the algorithm will only find out this (if ever) when it already has happened. This is not written in any public records. And when it has happened it’s dead on arrival. Yes, knowledge is power.

So, the only way an algorithm would know if its ear dropped on you. Or for speaking out loud, spying on you. Yes, we have all that experience that you talked to a friend about new speakers for the living room and boom hours later you get online commercials just around speakers. We know that big companies listen to us with their speakers, on our phones, etc. Even though none of them would admit it.

But that is the only way that an algorithm would have a chance to predict any future. Because if it just gets to the info when you search for these speakers online. The chance is just that you also bought them and the commercial you get later on is just annoying since you just bought your new speakers.
This only goes for really big companies like Google, Amazon, Microsoft. It won’t work when you need special people like supervisors. That is too narrow to get into. Spotify is to small to eardrop on you. And how on earth would they find out when you really start to like a song or a new artist? If that is going to happen the algorithm has to be implemented in your brain. And I hope we have sense enough to stay away from that.

The algorithms today mainly just goes on old info. The algorithms would say that this artist is totally out, but don’t know that the artist might just wrote the song of their lives. In that way recommended the whole wrong thing to the buyer. They would have loved to be part of that great song that just was written and have their brand connected to it. The artist might have liked the brand and could get some extra marketing money for it. I would have seen the algorithm that could predict that Queen was taking over Live Aid 1985. They were counted out as going away. But their live experience took over and they came out as a new hot band.

I hope we never goes so far that the algorithm should be able to predict the future. It’s enough that it spies on what we do and learn from that. That is still a guess, to leap that it can read us is not a pleasant thought.

Thursday, January 16, 2020

We need a new top chart!

I’m utterly tired of explaining to idiots that you have millions of streams doesn’t make you a star, or even successful. In the old days, the counting of sales was a good measurement of how popular you were. That is NOT the same as streams. Streams can be anything. A bought physical thing is an action you must do and a lot of thresholds so in the end yes that can prove something. A stream is not even a person pressing a button it can be on a playlist that really no one is listening to is just a background in a store or even on a chine mobile farm. There is no investment from the fan in a stream. And that is why it can never prove any fanbase whatsoever.

So, bragging that you have a couple of million streams is stupid. If you want it to be more stupid those million streams are just on one platform.  The easiest trick is to compare an artist through different platforms. You want to get even more stupid those millions of streams were created before 2019 when you could easily cheat on several playlists.

The industry has left the counting of streams long ago. It only matters if it’s done organically. And that is very seldom that is done organically of the artists that have over a million streams.
No, I’m really fed up with that the media are claiming something just because an artist has millions of streams. It’s not comparable with a million of sales.  The headlines are, “Popular artist done something” and then in the text it says that the artist has millions of streams on Spotify. Well, millions of streams together with all songs. Still the artist has never toured played live or even sold any merch. In fact, I have a hard time even call it an artist. It’s like calling anyone that happens to get a clip viral a movie star.

What we need is a system that also looks on the live side, ticket sales, how many radio plays, all streams from all platforms (to many just looks on that they have millions of streams on Spotify, then they just have a thousand on Youtube and how many do you have on Tiktok?). It all must count in to get a better picture of what is popular. What does the audience really care about? I know there are some out there but they are not good enough and just number crunching from bad sources that can be manipulated. We need something really better.

I know there are several companies working on this right now. My question is though how long it will take us to erase the whole damn conception that a stream is not a sale and that social media is more a filter bubble and nothing that proves that much. So even if that correct top list comes what kind of impact will it have and how threatened will the labels be if they can’t manipulate that chart?
Problems that we deal with later, first we just need another measurement and top chart before we get totally overloaded with a nonsense artist that claim their fame for nothing.

Wednesday, January 8, 2020

Genre is not needed, haven’t we got further then that!

Genre is not needed, haven’t we got further than that!
The line is from a new artist that was in the pre-selection of the Idol 2015 in Sweden. And now she is doing a comeback with a new totally unknown local record label. And this what she said in the local newspaper.

I guess you can say that genre is not needed but not like this. Spotify found out pretty quick that people didn’t care about genre, instead, mood was something they rather looking for. And yes sad playlists are still very popular.

Then the girl above has no understanding of what the genre is for. She thinks the genre will lock her up in a box and that you can never get out of the box. That is so far from the truth you can come. No one will stop you from doing whatever music you like many artists has a career doing a different project with different styles.  A good example is Sting.

Then of course your fans might expect something. I remember when I got a ballroom dance star in Sweden and she wanted to record some rock albums. Sure, her old audience didn’t like her new stuff and some reviewers didn’t get what she was doing. Still, overall it worked pretty fine. She just has to be honest and really explain I wanted to do this for this period of time.

In this kind of light, trying to fight genre is just plain stupid so when you get the question from a journalist what kind of style you are doing, answering everything is just contra-productive. The same as counterproductive to invent a small own genre like not exists like dishwasher metal.

What you need is kind of a broad description of what it is. As a booker, I really need to know what I’m booking. And with over 3000 artists applying I can’t really go and listen to everyone. And if my stages are dived in sort of genre one pop stage, one for harder metal music, one sing and songwriter, etc. I’m not interested to go through 200 artists that play jazz if I need a metal band. You don’t really need a long exact on-point description.

A to point description can also be misleading. A metal band can play a softer song like Sounds of silence with Disturbed. But still Disturbed is not a pop band. The major part of their repertoire is metal or rock.

Yes, we need genres. Not though that many believe that we go in on Spotify and just write pop and get the perfect song. It’s about when you cannot listen to a song and need a short description here it is handy. Still keep it in the broad not going to deep to try describing your last single with a new genre.
Also don’t try to fit into a genre of you, not that genre. No Nickelback is not a Metal band. Yes, Ramones can be both Punk and a Rock band.