Friday, July 3, 2020

This is the worst song ever!

Yes, you who wrote another song around Covid -19. No there is NOBODY who wants to hear your feelings around Covid -19, sorry. Writing in the intro text that the song is about that is just begging the intake on anything to just put it in the trashcan.

In the past days, I have already got fifteen of them. And most is a smelly cat* or smelly dog* crying how lonely they are. Yes, I know that you should be writing stuff about things that you really know. The problem here is that everybody has their own version on Covid -19. And they are so busy that they won't take in what you are singing about. In the truth, we really don't want to be reminded about it either. So my suggestion goes back and writes a happy tune seeing and meet people because that is what people are longing for. Another song that we should come together and break walls, stand up be courageous, been there done that.

If you are a small artist it is even worse because so many famous artists have got together and already done this. And to be honest the famous ones can't even make this a hit anyway. You need to be first. Like Bob Geldof when he did "Do they know it's Christmas" well after that many tried to do the same thing. Okay America with USA for Africa made it a good second, but who remembers the Swedish Hardrock initiative, or Band Aid II or all the others doing the same thing?

Too many are just dead fishes following the stream. If everybody is doing live streaming then they all jump on. Same with topics and release plans. The most amazing is that the artist that always claim to be one of a kind or special in one way are the ones taht are the hardest to convince that you need to get out of that box to be able to get something new. Like everything else, you need to create and be there from the beginning to be able to get something out of it.

So every new thing that comes around in sites, it's only, in the beginning, you have a chance to be there. Like Tik Tok if you think now it's new you are out of your mind. Now it's over, the artists on Tik Tok is already gone and done. We are chasing the next thing.

But the majority of the artists are in that way they are slow they are still on the playlist things on Spotify not realizing that Youtube just got Googel play into Youtube music and slowly like a giant prepare to crush the green bug. Will it happen? We have to wait and see. My guess though is that many "famous" artists disappear. Their fame is just a base on an algorithm on a certain platform.

To be famous in a real way, you have to break out of that box. Try things and fail and then learn from them. It takes time and you have to be doing it over and over. So forget that Covid 19 song and that you are gonna live stream it. That is almost half a year ago.

*Smelly cat or dog is an expression on our A&R teams for bad sing and songwriters, a cat is a sad girl on guitar and a dog is a sad guy on guitar. Hailing from the TV series "Friends" where Phoebe got a hit with the song smelly cat 

Wednesday, July 1, 2020

Don't underestimate the people you pass on your way up.

When I do consult missions with different artists, I usually get claims and dreams from them that are from the past. Things that are no longer relevant. I usually say that the audience that is really young and update is in front run the people inside the music industry that are on conferences are one or two years behind what is really happening. People that are working in the industry and not going to conferences are usually four to five years behind. Artists are around ten years behind. The general public many times over twenty years behind. Of course, this is individual, and all is about how interested you are.

So, what do I mean by being after? I had a conversation with a friend that I the general public, he is middle age and fairly interested in music. One of the artists I work with just had released a new album and he asked when the CD was out. I explained that you didn't do CD: s any longer. But in his world when he was a young witch is in the 90: s the release is not real until you have a physical copy. On top of that, he also claimed that the big artists like Taylor Swift released her music on CD!

And they do that! Big artists have such a big fanbase they even release cassettes or minidiscs, but it's in small quantity and it's just to satisfy that part of the audience that is even beyond twenty years. Still this I can see in artists over thirty just using Facebook, they always ask about releasing on CD, but since CD is really out they also go back and try to do vinyl since it has a better and warm sound. Vinyl has that if you have done the recording in that way. Unfortunately, these people have a budget recording done on a computer with extremely poor mics and with a sound engineer that is totally used to work to get the music on to the digital channels. In the end, the vinyl will sound crappier than the song on Youtube. No, the pressing is because the artist is still in the world that if the product is not in something that you can hold in your hand, then it's not finished.

It's about dreams, I guess. If your dream and picture in your head have been to hold a printed record in your hand, exactly like your childhood artist-hero. You haven't fulfilled your dream buy just putting your new song on Soundcloud.

Here we have the newer generation the artist that is twenty-five and up. The ones that are laughing reading the text above. Their goal is to get the song on Spotify and get many streams. If your song has a hundred million streams, you’re a star. This is proven wrong time after time and the industry in the front has already left this number-crunching because of the new statistic tools. But the artist is still there, looking at how their idols during 2010 just went online and got a million streams the first day. That it was all cheating and that it was just one platform they don't want to hear. When you work with them the only thing that matter is how many streams they get. They are also very centred around Spotify. That you can compare numbers against Youtube or that Apple is already bigger than Spotify in USA goes by deaf ears.

I had a funny conversation with a young punk band. First, I was commenting on that their music sounded like in the beginning in the 90: s. They were very flattered because they really embraced all those punk bands from that era. I explained that those band had developed the punk sound from the late seventies. And they need to update their sound to today instead of trying to sound like some 50-year-old dude that is still up there doing punk songs from the 90: s. 
Nope, they wanted the whole package. The next goal was to play on CBGB: s. I just had to explain that CBGB: s had closed several years ago. It was like killing their dream. They had seen themselves going into CBGB: s and play. I just had to tell them that the early punk bands didn't play on CBGB: s because it was cool. It was the only place they could have a gig on. Then they made the whole thing cool. When I spoke about CBGB: s with these bands like Ramones, Television and Blondie they were looking out and wanted to go beyond CBGB: s. 

This is part of the problem I have when I consult. In many cases, the dreams can't be matched. Today you as an artist must create the new CBGB: s if it's online or in the physical world. The problem is to have clear goals since the industry is changing very quickly. Right now, for some of us, it looks like Spotify has been there forever it just ten years. Ten years ago, we had MySpace and you think that is old. 

Jumping trends though never work. Right now, everybody is talking TikTok. At the same time, we see the stars of Snapchat dying. Also, each platform contains its generation. Facebook is for people over forty. Instagram for people over 25. TikTok for people just become a teenager. Then you have Twitter which is only if you are famous in some other field. So, jump from your fanbase at Facebook to TikTok, nah it won't work.

It's all about the dreams that you have in your head. The older you get the older the dream becomes, or should I say expectations. In reality have the dreams it's what keeps you going. Still have in mind that the things that you create will be someone else's dream. This crappy gig place or festival might later become legendary. No CBGB: s or Woodstock was not cool when it started, it has built its legacy.

So, to be able to make it you need to see the smaller outlets as the next thing. That blog, that radio station might be big in a year or two. Don’t just aim for the big shows or the big outlets, that is already done and are reserved for the big ones. Don't underestimate the people you pass on your way up. And don't just do the things that you think is cool. It's a big chance that what you think is cool is already out.

Friday, June 26, 2020

The mega festivals are over!

Another message from a tech firm that promises me that I can find the next artists by looking at different numbers on different outlets. Outlets, well they seem more just stats from social media and streaming platforms. As I have written before that is just 25% of the artist's career. It really doesn't give any accurate picture of what is really going on. 

Sure, you can get some sales figures from these numbers, at least some pinpoint, but not what is coming, just the past. When the numbers start to reach critical levels someone has already discovered this artist and that is why you have you have those numbers.

In another email, I got a tip-off about a new sing-songwriter that just got picked up by a bigger label. And the numbers were not that special, but they were in the range where a label would pick up and start to try to market a new good artist. Still, I need this inside information to know to have an eye on this artist. It will be another year before she will enter the numbers game and if it will light up on the tech firms list and by then it's too late for me as a whatever I work as a manager, booker, or recordable. the reason the number is there is because of the work someone else already did.

Another thing is how these numbers should go over to real fans? I just read about an artist I know pretty well. Hasn't done anything really bigger. Given out some songs on a major label where we can see that they have boosted some Spotify numbers with some kind of suspect major record labels playlists like Topsify. Around 16 000 followers on Facebook and 130 000 followers on Instagram. 
Ok numbers, but with a closer look, the average Instagram post har around 7000 likes her twitter has around 30 likes on each post. Then she has gone over to the big new thing TikTok where she has a staggering over 2 million viewers, each post is around 200 000 views. There are people watching this. My knowledge though as a booker knows that she wouldn't even draw 100 people inside Stockholm. she is not a name that the bookers fight around or even talk about. 

The tech company thinks then I can see this on their stats. But you can't. Yes, you can see on Spotify she has the most listeners still in Stockholm even tough the audience on TikTok is not from Sweden. Has she bought the numbers? Not really, maybe her label has put in some extra boost ( looks like it) for TikTok not so much buying instead getting her on different lists and asking people to follow.

Here comes the crucial thing. People that follow really don't convert to fans. that just click of a button that says it's it interesting for me. We know this from the live industry that these numbers seldom can be converted. In the Eurovision song contest, they have taken several YouTubers, Spotify phenomena, and such to try to break them. This is prime time TV in Sweden. Still, most just don't even make it to the final round. The staggering numbers on social media won't even vote for the artists even though it's free. It's to much work. Imagine then to get someone out of their home to be so terminated to see you live. Yes, a much harder work. at the some time a must if you are going to access the big money from your fans, the live industry is 51% of the money going around in the music industry.

Or wait, it was. We don't know what is going to happen after Corona. One vision I  see several times and is quite keen on is that the mega festivals time is over. These are not environmentally friendly (if it's not set one construction that is already there like Summerfest) and is not good for artists. One effect from the corona will probably be that smaller venues get together to get touring for the artists. Likely these venues have an audience that is regulars, and the booker of the venue will be the tastemaker. Then the numbers really don't count, it will still be a person that promotes the stuff to the audience on a small scale, the way it used to be.

No, I deleted the email about the help I could get help to see an artist's stats. The stats don't tell me if they are good live, or even can do a live show. Just singing in the camera on TikTok will not make a big career. And I think Covid 19 just killed most of the fake artists as well. Suddenly a network of real people not bots is the way you need.

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Monday, June 22, 2020

If you would like to have a chance to be successful you need this!

I sat in a meeting with quite many indie labels. It was a crash course on a new playlisting tool. Of course, some of the labels started to ask questions about how you pitched to playlists around the world. Because Sweden was not big enough. Also, they complained that it was very hard to get any results.

The labels that really did this, I actually usually get their press releases since I also work with media and radio. I can easily say that all of their press releases are not in the standard to be brought outside Sweden. They don't contain the right info or the right assets. Of course, they don't get any attention to sending a shitty press release around the world. It doesn't really make any sense. Reality struck my guess is that they don't have any success in Sweden but still blaming the Swedish press and radio for not cover their music and releases. Going abroad will not make it easier!

That is not what is actually failing. It's the number one fail that 99,9% of the artist do wrong. If you would like to have a chance to be successful you need this!

A good song!

Yup, here is the truth. 99,9% of the music that comes in is shit. No, it's not that I'm snobbish or anything like that. Things that I would call decent in my A&R job is at this level fantastic. These songs should never have been given out. Given out is, okay, never promoted more to say. When you promote a song you are up against the best of the best. Your song has to be as good as U2 songs. It has to be as hit worthy as Talyor Swift or Ed Sheeran. And your things are compared with both Beatles and Queen. 99,9% is not.

This is the bottom line, your song has to be good. Unfortunately, today's artists are testing music straight out. It's like the inventor of the bulletproof west just put it on themselves and tried the first test with bullets with themselves in the west. You see before the artists tested the songs first on the audience. They cut parts, checked how they reacted, and so on. That gave them the blueprint to go to the studio and record something that was already tested. Then they took that out and promoted it.

Today it seems you go out and party, come home write a song while drunk, record it while drunk, and then the week after giving it out on Spotify and then promote it.

If that was a terrible song it would be ok. A song has to be great or really bad. Everything that is just ok is the worst thing. It has not peace in this enormous brown wave of shit that is poured over us. The songs that come to my desk here is 95% just ok. You can listen to them but lose interest in 25 seconds. In today's attention world you need to be able to keep the audience for at least two minutes. And that is hard.

Problem is that the artist today have a hard time to take on criticism. When you do it live and they start to throw tomatoes you can just stand there calling for your mother to come and help you. Today's artists are mainly after that the intakes on radio and press just should answer that they love the song. They don't even understand that the worst we can say is that the song is ok.

So to have a chance to be successful you need a good song. Yes, you need to rewrite, you need to write with others, and in some cases, you might not bee good enough, then you buy the songs from the people that are experts on songwriting. Trying to break with a crappy song has never worked, will not work either.

And don't go to the people I mentioned, in the beginning, the reason why these small labels are giving out such crappy stuff is that they usually are failed artists and can't really see a good song if it painted itself purple and jumped on their desk screaming "a good song is here". They still think they are misunderstood. In reality, they really don't have the ear to get a good song. That you need training for. So don't go to your closest friends and mom and dad to ask if the song is good. Go to someone you suspect would hate your music. That day that person likes the song you have it.

Friday, June 12, 2020

Why the industry is not answering.

I read a great article on a site that sells email lists. They wrote that they got a lot of complaints that their lists didn’t work. People didn’t get answers they sent to over 1000 emails and only got two answers. The site explained that you really need to check out the blog, radio station, record label, etc before you send it to them. Not just send an email. Yes, this takes time. It’s quite easy to just put into the emails into an email list and just send a generic e-mail. The problem is that it never fits everyone. The generic email almost never fits anyone.

You have to go into each site to see what’s it all about and adopt your things. So instead of sending 1000 emails in one hour, you are down to be able to send 30 emails a day if you are working good.

Why don’t people answer? Here is a mail that came into one of the festivals we work with. On Facebook not even on the official email that goes to the bookers.


Hope you're ok.

We contacted you before, last year, about a concert of ******** from USA, blues, bluesrock.

We got the news that it is possible again to give concerts, with smaller capacity. So we started to plan a July-tour in Sweden.

Because of the situation, ***** will go solo.

We would love to perform at your place. We want to listen how you work with live bands or artists. ***** has an own ticket system, so we can work this way too.

Please let us know if you have availability in July.

And hope we can work something out.

Looking forward to hearing from you!

*** e presskit ***

*** Youtube link ***  [3/11/2012]

Kind regards


First, as I wrote. It came on Facebook, the person that handles the social media for the festival is not the booker. It’s not even interesting for this person to send this along. Why I saw it is that I was in there looking for something else. Since it clearly says a lot of instructions on how to reach the festival team on the homepage we can directly see that she hasn’t even been inside.

It’s a festival. She assumes it’s a gig place. Just that should be avoided by a quick look on the Facebook page.

The festival is held in September. She is asking for dates in July! Also easy checked on the Facebook page and the homepage.

She got the news that you could do smaller capacity shows? That is more than I know. Sweden has not opened up like several others and is still in 50 person capacity. And it looks like we will keep that over July as well.

She wants to discuss how we work with artists. We really don’t have time to discuss that even with the artists we book. Anything that says that I need to explain or discuss things is a big no no.

Having an own ticket system. I really don’t see the point. If we where a venue we would have a ticketing system. As a festival, we have that already. And to be honest there are so many ticketing systems out there so getting one is as easy as getting spam mails. Another question that arises is if we used the artist ticketing system how safe is that we ever got the money that we sold for?

Then in the end. Sending a YouTube link of a show done eight years ago is kind of strange. I would like to have something that is closer in time and something on the solo act since this link goes to a full house concert.

Why not writing this back to her? No, then you get a full email with excuses and other stuff. We are not paid to clean up the booking agents’ mistakes. Already here we don’t have any possibilities. We don’t have a show in July, and we are not opened up for more than 50 people and that can change if a second wave would happen. Finally, we are not interested to work with a booker that is not knowing anything around our event and having an error in each sentence they write. We just have to explain everything over and over again, things that already are presented on our homepage.

Instead, you just don’t answer. Leaving the person to make the same mistakes over and over again. Meet them later on a music business conference where they complain that it is so hard to get an answer from the music industry.

More and more also people are just talking to professionals that they know can deliver what they need. They don’t need the fuss.

Thursday, June 11, 2020

Artists are the scumbags of the musicindustry!

I got a call from a manager that I know on messenger. We usually talk once a week and especially now in the Corona lockdown. 

- He dumped me! Was the first thing she said. After five years he just dumped me!

I knew exactly, it was her favorite artist that she had been working with for five years. She had told me that the artist had been a bit "off" not answering on things and didn't want to take meetings. Still, she thought it was the Corona lockdown that made the artists depressed.

Now she told me that suddenly she was disconnected as manager from the artist Spotify account, she thought it was odd, but since they weren't releasing anything right now she didn't think of it. Then she was thrown out as admin on the Facebook page then she knew something was up. 

Then she got a short email from the artist saying that he was thinking of releasing in another way now and taking care of his own business.

- He just dumped me! Artists are the scumbags of the music industry! She kept going. Not even my worst boyfriends have dumped me in this way, with just a short note in an email. Like five years I have put in my heart and soul into his project and his music. And suddenly it's not worth a shit! Not a call. Just a damn e-mail like "this is not your fault, it's me that is wrong".

I knew exactly what she was talking about. You put in so much energy, free work and you're to build opportunity for a person and their art. In the end, it becomes like a relationship so when it ends in this way, yes, it feels like a breakup from a normal relationship. And I have been talking to a lot of mangers that felt exactly this, but it's never really discussed openly in the industry. Instead, the artist just moves along and the manger is just left there. I guess that is why usually parents manage, its harder to just cut them off, oh wait no Beyonce even sued her dad!

Two weeks later I got a message from the artist. He had been working on a new release and now wonder if I could help him with things to spread the word around his music. Before I have done that to help my manager friend. She would do the same work for my artist in her part of the world it's like you exchange favors. Here was more can you work for free since you have done it before. Clearly, the artists never understood that the contact is through the manger and swapping services. I had no desire at all to do free work for an artist that just dumped probably the only good person that they had in theri team with just a crappy email. In the end, what was in it for me? The shady part was also that the artist was not mentioning that they had left the manger. He just continued on like nothing had happened. So if I didn't know the situation I might have just done him a favor thinking that I was helping my manger college. I wrote back to him to take the quest through his manger and I could see what could be done. What I got back was just a - Ok thank you!
Nothing that he didn't work with the manager any longer, nothing. More it looked like he was still working with the manager. 

Of course in the network, we all let know to each other that this artist was going around trying to get free services. He approached several people. Just that they should do him a favor, several of these are working also as PR people he had could be smart enough to try to hire them, since that was what the manager had sometimes invested in, with her own cash. I guess the artist never understood that. Then the release happened, of course, the release was a disaster. Even if the manager only managed to get some small stuff (mainly because the artists wasn't good enough, and also didn't fulfill all assets), you could easily see that with the small things gone it was really down to nothing.

Then in one of the digital showcases that were ongoing this spring, I got the artist in a private chat. He was still asking if I could do some favors to get future gigs and PR and Spotify. I asked if the new release went well (of course I had seen it didn't). He complained that the new person that he got was not good enough and with that, he revealed that he didn't work with my manager friend any longer. I asked why just to be curious. He felt that it didn't go as fast as he wanted and that he needed new blood.

He was acting like a person that just bought a new house and want to make a new style. Throw everything old away and just buy new stuff. It's nice but after a month even the new becomes old. And that good sofa you throw away, you just miss it.

This is the reason why the more you work in the industry the more you lean not working with artists. I just got a tipoff from a very experienced and successful person in the industry. She just said, Peter tell your friend to work with companies instead, artists just come and goes and you put into much time and to gets payout is so uncertain if not impossible. 99 % is just waste of time.

I guess it's true. The problem we have is that the gap between these successful companies and the artists needs to be bridged otherwise the companies don't have anything. At the same coin, artists need to understand that it's not just switching outfit switching managers. And not act like scumbags in certain cases.

It takes two to tango! The scumbags are everywhere. But when people talk about the evil music industry, this side never almost never discussed. 

Wednesday, June 10, 2020

The technical shortcuts you should avoid!

Yes, every time you see a new superstar they just appear. Or it seems like it. Most of the time they have been around for years. In the industry, you usually hear about the next star a year ahead. Before it was usually three years ahead, but things are going faster without internets no borders. Still, it never happens overnight, and it never happens as fast as you think.

Just a couple of examples. I had a meeting with Avicii:s manger at least two years before he even became big on the DJ market. After he became big there it took at least two to three years before he went on to the normal big pop market. My guess is that I knew the name at least five years before the coolest mainstream started to recognize him.

Halsey, we got from out American record label they where friends with Haley’s manager and they told us she was going somewhere. She just released Badlands and was going well. I guess the mainstream here in Sweden really does not know her yet.

2011 we had a band opening up for our band in New York it was their first NYC gig I think even their first gig out of the state. Really nice people, and now they are famous as HAIM. Took though at least four years after I saw them on in the media.

The new technological things are tempting to use. Right now, everybody is talking TikTok, and yes, they produce a couple of stars. So did Myspace also and Snapchat. Still these new ones are easy since they are relatively easy to cheat on. And cheating is not going to get you a career. There is no way Doja Cat will be as big as the Beatles. My guess Doja Cat is gone in five years.

Why? She came through TikTok, cheating we don’t know it was a new medium and she maybe was really good on it. The Beatles came with “She loves you” after spending two years playing live in Hamburg Germany. They played over 250 nights in the seedy seaport city, and venues often demanded they play four or five hours a night. The shows were not glamorous. That made them live experts and when they got their hit. They knew how to get the audience to listen and also how to make everything work.

Today the average mumble rapper is giving out songs then cheat by buying streams to get to the top chat. Suddenly they get their 15 minutes in the spotlight. They have no live training, no media knowledge and everything they have done can be traced by social media. It is all over before it’s over. You can’t build a sustainable career on these premises. 

But all artists just carve that everything goes that fast. Witch is impossible. Even with a world hit, you cannot be booked to all festivals. There is no way you can schedule that many concerts. To just handle the first success, you are doomed to be out for three years to cover them all. Also, that is hard work if you haven’t toured before and are through upon a big stage there is really no chance that you would do that stage justice. 

These years that you need to do is called the dog years. You need to learn for a small audience when and the technical difficulties to handle the big stages. That is why tv shows like the voice or x-factor seldom work. Here they put them on the big stage directly and then they go back to the small ones. There is no build-up by knowledge on how to handle your fans or audience.

Right now, I see so many artists just looking for shortcuts in the form of platforms or bad tv formats thinking they can build a career. Cheating is a part of that. Yes, Spotify we know that you can stop cheaters. The likelihood that an unsigned criminal rapper for a suburb in Stockholm has 7 songs on the top fifty charts outdoing Lady Gaga and Ariana Grande's new hit with two songs and Drake is not just plausible. And not that guy has never done a live show and will probably never be able to make it.
No, the shortcuts will not make you a star. The digital things are just new tools that replaced the fan clubs.

Wednesday, May 27, 2020

This is why you really can't release DIY

I'm working with The Magnettes new single "American" and I just see all the things that a DIY artist really can't release right. It's not even possible with them knowing what is needed. In fact most are actually out there written out for free to grab. They can't really access all these channels needed.

Sure there is plenty of outlets for the DIY artist to reach Spotify and some other platforms. Why I just say Spotify is more that is the general DIY artist just cares about Spotify and really nothing else. They think as long it's on Spotify it will get discovered somehow.

Since there are almost 40 000 releases uploaded to Spotify each day. So just start with that you need to have the knowledge to release on a Friday when the official release day is. Just this week I have seen at least twenty DIY artists upload and release on other days. Sometimes even on holidays, like someone would take more notation about that. Just that simple thing can make the DIY release to just go wrong.

There are though so much more to the whole thing. The Magnettes releases in two weeks. Still the PR campaign has been going one for already four weeks. For this release we have six PR teams working on different territories. On top of that we have people doing market PR for just one country. In total the whole PR team is 16 people that need to be coordinated. Even before the single was correct mixed and master, demo versions went out to different teams to determine if they were interested to work with it at all.

For a DIY artist you can't even reach these teams. they only work with artists that are released by professionals because they have all their assets together. I just took a non-scientific survey with our release team on the digital distribution and asked them how many artists actually had all their assets together? One out of a hundred was their conclusion. Can it really be that hard?
For a single, you need, single master, press photos five of them, a front cover for the single, a lyric video, a video, and a press release. It's really not that hard. this is the basic. We saw that in the DIY artists out of 100 releases none had the basics covered. Instead we had to go back and ask for basic stuff.

To make this harder. That was just the basics. On top of this you need to update all your social media, homepages with new material, press stuff, and other things. The five photos should be in a way that it's in different formats so it can fit most situations. The video should be ready before the release of the single, not after release. The biography should contain some cool line that makes people want to read about it, not just that you release a new single. It should contain quotes from the artist and quotes from media on your earlier releases.

Then you have all the hidden outlets. On The Magnettes case I have now added them to 25 different upload places for radio, so the song is in the system. I have also presented the new song to over 250 music supervisors so it can be added to commercials, tv series, movies. And for that I need to have even more assets together like right ownerships, instrumental and clean versions. Then I also have been on our special teams that handle Youtube, so the song can be placed with influencers. I also pre-cleared it for use in sports events. Everywhere it's played it counts. I have also set up all the accounts to measure all the PR activities that we are driving to see what is working and not working.

I have a special relationship with our aggregator so I have personally spoken to them to add this release as a priority release. This can't even be done at a DIY artist aggregator. On top of that I have spoken to my contacts on different outlets, so like china speed on the process so it's on their servers faster. I have pitched it to Spotify and added it to Shazam. Updated Wikipedia. I have also cleared the lyrics so any site that handles lyrics has the right version and on that we get paid every time it's looked at.

Also, I have presented the song for over 1000 industry people to find new ways and stuff to get the songs heard in different ways. These contacts are personal so it's very hard for a, DIY artist, or just tap into this vast amount of contacts.

This is just a small part of all the things that a record label a professional manger does around an artist. In the end releasing as DIY artists are impossible. These outlets are not open to the self-releasing community.

No it's not just that your song is on Spotify. In The Magnettes case we also have secured Tik Tok, Instagram, Facebook, Tencent and more. Things that we have because of our huge network of people. This is also the reason why a full campaign takes almost 10 weeks to go through. The average DIY is mainly put it up with one-week notice and do a couple of Instagram and Facebook posts. No as you guessed that is not enough.

And this is just the basics. We haven't even talked about that your song also has to be good!

Monday, May 25, 2020

The Nigirian letter - driveby

Yes, we are still on Nut job week! This one is partly fool, partly nutjob, but also a language barrier. Okay, it's not easy to learn the language and I'm really not good on either spelling or getting the grammar right. I'm not making fun of his spelling but it adds on the confusion.

Still, it feels like those Nigerian letters you get where they have this huge treasure that needs to be moved and you are getting quite much percentage to help them.

Of course, this is a guy that added me on Facebook out the blue and after five minutes this conversation starts.

Ali Mohammed - Bonjour

Peter - Hello

Ali Mohammed - How are you?

Peter - Good and you?

Ali Mohammed - Fine I am a musicien blue, I have a song to sell you cheaper

Peter - How much cheaper?

Ali Mohammed - You want me to tell you the price, us to have contract?

After that, he tries to call me on messenger. But hey I have no time to spend on the phone on this.

Ali Mohammed - 1000 to 700 euros

Peter - Why is the song worth that?

Ali Mohammed - I can decrease you but the song is very nice if you buy you can sell

Peter - So it not given out?

Ali Mohammed - oui oui ce nouveau, it's a new song

Peter - So why should I buy it and sell it. Why don't you sell it directly to the person that should have it?

On this, he doesn't answer so I add on

Peter - How many hits have you written before?

Ali Mohammed - I had a lot of songs if you want you can buy I sign you the contract

Peter - Has anyone bought your songs before?

Ali Mohammed - Yes, but the one I came to sell you this new, he has never been to the market

Peter - I would get a 100% of the Song?

Ali Mohammed - Yes no problème, you have to be coward and I sign you the contract, I want to sell you the song

So far I haven't heard the song. I don't really know what language it's in. So just to see what he answers I go for something totally crazy.

Peter - Is the Song in Norwegian?

Ali Mohammed - No she's touareg it's blue touareg

Then I get it. Since we are publishers I assumed that he was trying to sell a written song. No, he is trying to sell a single with an artist. A master deal not a publishing deal.

Peter - Oh it's an artist attached to the song?

Ali Mohammed - Yes of course ?

He tries again to call me. Of course, there is no point to discuss this on this stage.

Ali Mohammed - How much are you going to buy the song?

Peter - You are try sell an artist. How successful is blue touareg?

I don't know what the artist's name is. I try to look up his name, get up nothing. So my guess here is that he has a female artist called Blue Touareg. Well, it's nothing on that name, and on google yes you get a lot of pictures of the car Touareg in blue.

Peter - Does recording and mastering include in the price? Are video and pr photos included?

Ali Mohammed - no there are no photos and video this audio only, do you want to buy the song?

Peter - I can't find anything about an artist called Blue Touareg online has she released something before?

Ali Mohammed - don't worry if you don't want to buy it but it's a very nice song

Peter - I need something to compare with if the price is right

Ali Mohammed - The price is correct but as you are my friend I can decrease you must tell me your price?

I love this, it's like buying something on the bazaar in Cairo. Too bad, we can't have tea and discuss it like they do. Then I can use a Fez in my Fez collection.

Peter - A new artist has a value of zero. If it's nothing done, just a song it's a huge investment.

Ali Mohammed - it not me the new artist me I am an artist since this song which is new? I have a lot of songs

Peter - So do you have any songs on Spotify or Youtube?

Ali Mohammed - Yes, I send you the song to listen and after you buy or else?

Peter - No send the old songs first

Of course, I want to see the stats of the artist. You never know they can actually be famous in theri own country. So I wanted some numbers to look at.

Ali Mohammed - I don't understand? do you want to buy the old sound or else?

Peter - No I want to compare the numbers you have on the old song, that will show the value

Ali Mohammed - the old sound is 500 euro

Peter - okay does they already gained that amount?

Ali Mohammed - Yes several time even, Do you want to buy the old song or new?

So the old songs must be out on the market. Now I just need to get him to send a link to one of those to look at.

Peter - So where have you released something online, do you have any songs on Spotify already?

Ali Mohammed - YouTube daily motion, Do you want to buy the old song or new?

Peter - what is the things on youtube, do you have links?

Ali Mohammed - Do you want to buy the song or? I can send you song to listen or?

After like two hours messing he finally can send a link.

Peter - I don't want to buy the song if you can't send anything that you released before on Youtube or Spotify.

Ali Mohammed - type in Ali Mohammed song on Youtube.

Finally, I find something on Youtube. It's a song done with another artist so it's featuring. The sound is kind of nice. But can't really be used outside his country.

Ali Mohammed - listen and you tell me your choice

The funny part here is that I just have one song that is already given out. But though the name I managed to find and album in another spelling that was also on Spotify. The Youtube numbers were not taht bad 100 000 streams the Spotify was just 2000 to 3000 a song but it was twelve songs. Still if you taht add up it's not more then a 100 euro in streaming worth.

Peter - The streaming numbers just add up to 100 euro. I have to pass, nice video, but I won't earn the money on it.

Ali Mohammed - are you going to buy or else?

Here I'm off on another call so he becomes impatient.

Ali Mohammed - How much do you buy the song?

It has all taken six hours to get this far, so I called it a quit.

Peter - No I won't buy the song.

It all reminds me of a Nut job in the subway in Stockholm that was standing there screaming "you want to buy cassette, cheap cassetts" he was standing there all in 2000:s when I was traveling to work. Don't know what was on those cassettes. I should go back and see if he still sells the cassettes. in the end, I haven't heard the song, maybe it was a hit of a lifetime.

Thursday, May 21, 2020

Welcome to the nut jobs

I guess the desperation is going through the roof right now with the people in Corona lockdown. I usually get a nut job a week. But right now they just come from everywhere. They are the reason why most people don't answer artists. In one way they are fun, but if you are in a lot of work they are not fun to have in your inbox. So for not encourage them you just don't answer. But of course, I'm always against the grain...

So this morning I just open my social media and there they are. First, a real nut job that I just follow because she is totally in outer space. This morning she gave up to pursue that she could trademark a pink cross. Last time I checked the cross is a symbol that the guy in Rome with the funny hat has a copyright on. Seem he had it for almost 2000 years. So make it pink and illuminate it doesn't really go for a trademark. And then she saw that The Weeknd had that in the video Starboy and went off to try to sue them. What do you say, are you doing the art, or are you just in for being a querulant?

I guess she reads this so she probably will unfollow me.

Then my phone starts to light up as a x-mas tree. It's the Cashbox Instagram. Some guy is ranting on. So every line here is a new message.

- Hello there I am Indie Artist **** on Soundcloud please play my hit ******

- This song has been submitted to Donald J Trump as a potential jingle for Coca Cola advertising campaign and hopefully will be used for reading $$$ to fight the cure for Corona Virus

- I am being followed by the US House of Representatives and Smithsonian Entertainment on LinkedIN

- I am also a Candian Citizen originally from Burlington Ontario and ran my own music studio in Acton Ontario 2002 to 2017.

- I am currently remarried to a US Citizen living in Queenstown Maryland USA

-  The song addresses both Corona Virus and Coca Cola.

- I am all over social media platforms mostly USA platforms.

- I have Facebook and old LinkedIn in Canada

- I moved to USA august 2018 and remarried July 2019

- Almost through the US immigration process here

- Aka Mark of Virginia

Here I get a chance to intervene. So I reply: We play songs about Virginia like this one

But Mark doesn't really give up he keeps up his claim of fame.

- My song is about raising money for Corona virus

- I am being followed on Soundcloud by The Lazy Comic and also Eileen Carey, Jim Carey's wife or ex wife

- Jim Carey is also from Burlington Ontario

- ***** is a very catchy tuneful and everyone that hears that song loves it

Of course, now I had to hear it. I guess I'm alone on the planet to dislike it. Then I liked on all the pictures with him half-naked in leather gay outfits. It was like Tom of Finland but when reality hits in. And while doing this John keept on:

- Music Promoters from Cunningham Piano and Music are also following me on Soundcloud they are from Philadelphia

- They own the Cunningham Piano and Music Company

 Then I got a chance to answer: Good that you have so many friends. Go on to and listen, maybe someday you hear your song.

- That is awsome thank you so much!

- I've also connected with Rosie O'Donnell

Okay this is a nut job. But really I have people in the industry that are sane ( well at least they acting somewhat sane) that does this as well. Just throwing names that they claim to know through social media.

Wednesday, May 20, 2020

You must love the fools

Right now I get up to ten friends adds on Facebook each day. No, I don't count the girls with fewer clothes that always are alone home and need a male companion. Those are just listening to bad Britney pop and has a bad music taste my girlfriend tells so I erase those. I don't want people with bad music taste in my feed. The ones that are adding me are real people. It's not that I'm popular either. I guess I'm listed somewhere.

Anyway, part of these is what I call drive-by shooters. People that just add you and then five minutes later send you a song to listen to. Just reminded me of that I got one of those girls with fewer clothes playing ukelele the other day, oh well back to the subject, they send you a song but never tell you what to do with it. Okay, listen to it but what then? I have never encountered that any of them has been any good.

Then you have the ones that actually tell you what to do with the song. And sometimes it's hilarious conversations you have with them. At the same time, this is why you have professional people talking to radio as the PR person, the record label as the manger. The risk to do it by yourself is that you blew the opportunity by just open your mouth. This one came into my Cashbox radio facebook account today.

"Hi Cashpoint Radio, we’re like you, we’re also sick of corporate radio, we want radio how it used to be, so if you fancy a listen to our debut album ‘The Noise is Beautiful’ by my new band Tinkers Lane then the links are below, if you’d like the MP3’s then I’d be pleased to send them to you, just let me know. Stay safe and well
Links to
Appel/Itunes "

Sending links to sites where I have to pay for the music doesn't really attract me. My guess that I would go out of business in just one month to buy strange songs that not fit the station is overwhelming. The thing I love the most is that it's to "Cashpoint Radio". Still, I admire that he needed to get into the station to get our brand " How radio used to be" to be able to write that. he made a real effort. In a way, it's just writing slip. To help along I sent back

"Thank's, we actually have done a show for you. It's here and you can listen to it straight from the site. 
While you listen to that we will listen to Thinkers Bane."

To say the truth I didn't follow any of the links, Instead, I went for Youtube and found a hilarious video with rollerskating as one of their videos. The band is ok, but just because it gave me a laugh I have heard their song three times now. And started to like it, maybe I should just play that on the station anyway?

The more terrible ones are this that also got in today. Straight into my personal Facebook after adding on five minutes.

"Hi Peter, I hope you are well! My name is **** and I'm drummer of ******, alternative rock band from London/UK. I want to ask you how we can have airplay on your radio and is it possible to put our songs on daily rotation Thank you and stay safe! Link to song"

"Hello ****. Thank you for sending the song. The style is ok, but the song is not in radio format. It has a 1,12 intro is 6.06 long and are slow. That might work in playlists on Spotify but not on radio where you need quick attention. But hey feel free to send new songs when you release them."

I was, of course, trolling after a dumb answer. My guess was that he would send me another one. Of course, when I looked on the first one I quickly listened to three others they all had the same fault. The risk he had a song that fit was none. But here I took the thing that they could write a new one. I made a deal with myself to eat my girlfriends chocolate bar she left and told me not to touch, if he came back with a song that could be aired. I just felt, make my day, punk! Some normal day edge. Like just passing a fart after three days of diarrhea, normal life on the edge.

"Thanks for your message, Peter! I'll send you our debut album, 12 songs. If you like some of them for the radio I can send you mp3. A link to Spotify"

I love the fools, they really make my day, but they don't get me chocolate.

Wednesday, May 13, 2020

The bogus Record labels are as necessary as like fish needs a bike!

I just came out of a meeting for record labels. Yes, record labels have organization meetings as all other business organizations. I have been a member for the past 25 years, so it was fun meeting people that actually do the same things like your self and really indulge in record label nerd talks. Before the meeting, I meet up with another label that used to be active in this local organization but now is in the bigger worldwide organization. 

She just said I don’t care any longer about the local chapter. It’s really too low quality on the members to be even considered as working in the music business. In reality, they are worse than the artist themselves on their job. It is mainly a junkyard of people that are employed by organizations to give out music in a really bad way. My belief is that the artist would do it much better themselves then being pampered by these bogus so-called record labels.

And now when I write this it popped up on my social media feed, adds on a supervision company marketing that suddenly you can also add your song for distribution on their platform. I guess placements didn’t go that well? And then a company where you can create songs and collaborations with others just added on taht you can also publish the songs by them. I don't know would you feel okay that your real estate provider worked out of a hot-dog stand?

Yes, there are too many people and companies that just offer a bad version of what a real record label should be able to offer. Sure you can use any of the public distribution services for DIY artists. They are not great. If your goal is to have the song on Spotify they work fine. It’s not for professional releases with real marketing but you can say to your friends that you are on Spotify. But to be middle hand for those sites? That is not okay!

Releasing today is not to get the song on to Spotify. That is easy. The hard part is the PR part where you have to work against the social media bubble to try to break into new bubbles and have every algorithm against you. That is the reason why no one is not discovering your music when you put it up there. It has nothing to do witch way it came in. It's about how you market it. No marketing and the chances of being discovered even to the lowest playlist is almost zero.

Here is the service a real record label actually can provide. If it is a real label! Right now I see too many people acting like middle hands for artists to even do the simplest of stuff. Like a government organization opening up a record label for artists that uses their rehearsal rooms, using a DIY distributor. What is the point? You fool the artist thinking that they got a record deal? In reality, you just move their files to someone else that distributes it to Spotify. Then the artist thinks you are great just because they are on Spotify. In reality, you just broke every chance to market the stuff. 

Not the organization has no clue about marketing. Nor has the supervision company or the collaboration company. I can’t imagine they have staff working with all the strange songs that are in the making all the time. They don’t have any intention to even spend money on any marketing. Instead, it’s just another of these 99 % of the 40 000 tracks that are uploaded to Spotify each day. A good question would be how even there are handling things like ISRC codes or even simple matters like information around who wrote the song. Things that actually is crucial for you as an artist to get paid!

Back to the meeting with the local chapter I was visiting. It was horrifying when you looked onto who was actually claiming they were a record label. 60% were artists that were giving out themselves, and none of them are successful and probably would need the advice from a real label around song quality, PR, and stuff. 35% were those middlemen that are failed musicians that now work for organizations claiming to be a label. Then you had three real labels, run by old people. In reality, their prime time was over 20 years ago. One was asking what TikTok was, just saying. I got only one “real” label in the meeting that knew what they were talking about.

No there was no good time to chat about the industry. The knowledge was not there. The real people had moved on to the worldwide organization. I guess real record labels are on extinction. There are a few ones left and if you work with them, they are great. But they act on a really high level. 

Like the plastic destroying the oceans the bogus ones are spreading out fooling artists to use a service to go to another service and the DIY can’t really promote either. In the end, the artist is stuck with a bad deal with no one telling them what they do wrong or how to improve. 

Like the fish in the sea that will be gone of our pollution, the artists and talent will die by fake hopes to get their music heard.

Thursday, May 7, 2020

The IQ and EQ in the music.

Just to have a high IQ is not that good. I was just watching a game show on TV and the contester was in MENSA (a club for people with high IQ) and had a high IQ. Lost almost on the first question on how many legs a spider has. IQ shows how good you are on logical things. Don’t really say if you are smart or successful.

Also, this contestant, you really felt that she was not someone you really wanted to have a conversation with. What she was lacking quite a lot is EQ. Your EQ is the level of your ability to understand other people, what motivates them, and how to work cooperatively with them. So, having one of these is good but you can perform badly on other things. Like you are super smart but friendly like a venomous snake. Or you get along with all people but not really see when people take advantage.

In music it is the same. Let’s compare the IQ with skills. You can play the guitar as fast as possible with great tunes. EQ is the ability to write songs and harmonies. In the first you have Yngwie Malmsteen, yes, he can play guitar fast like hell. But he can’t write a decent tune. Then you have Per Gessle from Roxette who is average on guitar but writes hit songs as easy as he makes a cup of tea.
The problem I have is that some genres only goes on the IQ part. And on top of that, they think since they are “smarter” they look down on the EQ ones. On the other side the EQ ones make all the money and have the audience. IQ just survives on government aid.

This shows off quite easily. Classic music has not had a hit in almost a hundred years. The last hit was Wagner. The style is popular among the audience, but not the new things, only the back catalog. Why is it so impossible for classical artists to make something good today? My guess is that Wagner, Mozart, and the other were EQ people, but they had to enter the classical world. Today there are all sorts of other ways. And by that it is impossible to tell any classical schooled artists too write a good song. They really do not have the skills. They can only play advanced. But the advanced just sounds terrible. And most schools are just encouraging them to play right not do things that are great.

Same with Jazz, okay had a few hits later, but hey when did a jazz song really hit the charts, especially the kind of improvisation jazz? No, it’s fun to play, but listen to is as fun as watching a game of curling. Yes, there is a reason why curling is not a big seller on the TV menu.

From time to time I meet people from these sections coming and want a real career not just pennies from the government. I just tell them, write a hit, if you can’t buy one. And they don’t really understand. They rather want me to change the audience so they should understand the technical skills. And that will never happen. Also, these people tend to just be around each other. A bit like the mad scientists that only hang together and tell algebra jokes.

So just because you can say horse in nine languages when you should ride you buy a cow. You really need both sides to be successful.

Tuesday, May 5, 2020

Say no to play for free!

You always get artists complaining that people think they should play for free on parties, pubs and other things. Usually, with the saying, it’s good for promotional for you. I have seen artists ranting long things around how stupid people are, and that they are worth being paid, etc.

At the same time, I get this all the time. Okay, I’m ranting about it right now. And the reason for that is because I had several people talking to me about this problem that are professional people in the business. Right now since there is a lockdown and releasing music seems to be the only way to get something done it just comes in double than usual.

Just as annoying as people asking for an artist to play for free. As a professional, it’s equally annoying with an artist that thinks I should do them favors for free. I just got this message:
I’m releasing a new single next week. Though if you know some good outlets that I should send it to?

I’m working with PR. So yes I have full email systems and connections with people that are the people you are looking for. That though is my tool. As well as your instrument and songs are your tools on that free concert, mine are these built up lists of people and relationships.

It’s equally wrong asking for these contacts at PR firm. Same as the free concert you don’t really want to be the a-hole that says no. the gig will be fun but you know your work and all the time you have to put into it. Same here, I don’t want to be the a-hole saying, pay me. The truth is that these contacts I have paid for in both money and time digging into systems and going on showcases, talking to people. It’s just like your free gig. It’s a big investment and I don’t want to give it away.
When I talked about it to my PR friends that were nagging around it. I also reminded that they gave me free contacts and such sometimes. Though that was different since they did something for me, I could give them something back from my system. That was a trade. Unfortunately, they didn’t want a free concert by any of the artist that was asking them for contacts.

One of the persons was a manger. She had the reflection also that managers where more in the spotlight of this then my PR agency. When artist do contracts with managers they of course also get into the network. The manager uses this tool to spread the artist's music. The problem is that the artist just sees this as something that just comes along. There is no real value to the network that the manger has. Many times, also the artists treat the contacts badly. She had done a full interview for the artist with a blog. When the interview was released the artist didn’t even bother to share the links, they didn’t think that was important enough. In that of the back, of course, the manager didn’t look good in the eyes of the blog.

A reason also why you can’t just give away contacts. Suddenly someone comes back and tells you that the artist has behaved like an arrogant prick and is not happy, and you recommended them.
Another thing I also get a lot is people coming up with a whole album and think I should listen to them and give feedback. The same thing, what’s in it for me and why should I spend almost 2 hours for just a thank you.

Before you do this. Ask if you can hire people to do it. If you are low on cash what can you trade with? You don’t like when people ask for free shows. Don’t do the same mistake.

Thursday, April 23, 2020

Don’t shag the producer!

Or any of the band members either! Sure, people meet at the job but there is a reason for bigger firms that it’s forbidden to have relationships between employees. Ok, the music industry doesn’t have that but you should see it that way.

I had an artist that was produced by her boyfriend. It was not meet on the job. They had been a couple for a long time so it became kind of natural that they start doing some music together. He naturally produced her first ep and album. Things were going quite well and a record label came onboard. They were very enthusiastic but felt the music had to step up. Why don’t hire a good producer?

She got stuck between a rock and a hard place. Go home and tell her boyfriend that his producer career wouldn’t get on with her career? Or that he wasn’t good enough? It just became mission impossible. Every time the subject comes on at the record label meetings she was avoiding the topic. The record label just took that as she was a diva and didn’t see their new super-producer as cool enough. After a couple of meetings, the record label was not so enthusiastic about their new signing any longer.

The recording happened anyway. Don’t really know how she broke the ice? Her demand though became really strange. The whole recording session she needed to bring her boyfriend with her to the studio. Okay, I don’t know if he thought she would shag the new producer. At the same time, the producer found himself in an awkward position where he now should produce new songs with the old producer sitting on the sofa next to him watching every move.

The production came through. The record label was losing even more interest in the project, so the song was more laying on the shelf. Then six months later the artist came with the super idea (she thought) that her boyfriend could make some arrangements in the production that was done. Make it up in style.

The worst idea ever and the record label just saw that they would be stuck with this mediocre producer stuck to a good artist. There was no way her songs or productions would go any better she had reached her peak. And letting the boyfriend go in and change in the production and get the other producer to go on with that. Not even a solution. In the end, they just released the song with no marketing what so ever and dropped the artist.

Another artist I know that did the thing to become involved with every producer. Releasing her record was like having five angry ex-boyfriends working against the release. Any delay they could do they would do it. In the end, we just had to tell her to stop dating the producers.
Then suddenly every demo that she did in was not in the usual quality. The artist was talented, not writing songs, but finding guys that where good producers and songwriters and literary shag them to get a good product. She couldn’t write anything herself.
Latest I saw something from her she had a great looking video for a really poor song. My friend told me she was shagging the photographer nowadays.

And yes, we all know the famous breakups around artist and their relationships. Lady Gaga and her first producer. Yoko Ono and The Beatles. Dave Stewart and Shakespeare sisters.
The final advice, do like the big companies, stay away from relationships in the professional world of music.

Thursday, April 16, 2020

To release a song you need a vision.

Releasing a song/album is really like making a movie but on a smaller scale. In movie production, the director’s job is to get the whole team into his/her vision. Of course, they take advice from different experts like the lightning director that comes with suggestions and then the director makes out of that is part of the vision. In the background, you have the producers that do the financial decisions. The vision cannot go over budget. Still, in the end, the director’s job is to make the vision clear.
In music, that job is the artist's job. Sometimes they know, like an actor can direct a movie. But not any actor can be a director. Same in music in many ways’ artists might not be suitable to make these decisions. Still, in the part that you release DIY, you are forced to be the director that takes decisions.
When I went to film school, I was a scriptwriter, still, we did some classes with directors to understand their work. And one of the most talked of things was that a director should not seek advice and then always do the other way. If the light engineer gave a suggestion you needed quite good reasons and concrete arguments about why that is not fitting the vision. Just run over professionals didn’t make a good set. Some demon directors were mentioned like Alfred Hitchcock that was up in a tower shouting direction out of a megaphone during a shoot. At the same time, Alfred Hitchcock also stated, “Actors are cattle”. Later in an interview, someone asked if he had said that hand he replied: “No, I never said that, I meant it”.

Here I think the music industry has a lot to learn. As the releasing part if you are the manager, artist or even the record label. You must make your vision clear. If you do not how should people know what you want? My first questions with a new release are what you wish to happen to the release. And in 99% of the cases, they do not know, or the answer is it should be a mega-hit, or that all people should hear it. That is as stupid as that a local produced movie in Sweden would have the same budget as a Hollywood big production. You need to know if this is for a world, local, national market. Just there it determines how many teams you need and how much it will cost.

Time is also crucial. Imagine that the director starts to call round to the crew that they should do the most important shoot of the movie the next day and just expect all people at the set to be just ready and drop all their other projects and just be there? That is the feeling when an artist just gets a feeling and want to release the next song the same week.

Then during the shoot, all the suggestions that come from professionals were disregarded. On all the suggestions that they where asked for then was done in the opposite way. Yes, then the team just do their orders and do not feel the vision. They just do their job and forget about the project and will not go that extra mile that all projects need to be successful. Here you have the artist that hires a professional producer and then start arguing that this is not “their sound”. If you know better why even hire them. Or the manager that gets the advice to push the release and then comes back with some sneaky thing to get it out anyway even though they got the advice to push it. If the team is mistreated doors close amazingly fast and very silent.

On top of that if the director then when everyone has dropped everything starts to yell that the crew did not do their best. The director should just be lucky that people show up. Here you have the artist that then complains about that the song that was released in a weeks’ notice did not get that many streams.

Right now, in the panic that you should release stuff since the live opportunities are slim. Start to think and do not rush things. Do not be top slow either. Be clear about what you want. You are the director, not a bad boss screaming on people rather the boss that you like and are ready to work an extra free for.

Friday, April 10, 2020

You wanna know how you best send music to radio?

I just did a radio show around how you send music to radio. And yes I can tell that even more experienced PR people should take listen to this to have a better chance to get on the radio.



And yes I really do much of the blog on Cashbox Radio now. It's a better media since I can play music. If you want to send music to me I'm on

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 herer is a bit high.