Wrapping Up 2014: What People said about music, and what I wish to see in music reporting

In 2014, Music Historian experienced its most decorated year. The New Music Seminar opened opportunities to listen to industry experts. Through this event, I also spoke to musicians who currently modernize classic rock and Americana, (Kim Logan and the Blackfoot Gypsies), revitalize the sounds of 1970’s funk and soul (Juicebox), and pay homage to some rock genres critics have often thought of as outdated or even obsolete, including grunge (Desert Sharks). The Governors Ball Music Festival presented a chance to apply the market research, strategy and consumer studies I had gathered at Business School in real life, and an interview with The Naked and Famous. Finally, during CMJ, my business colleagues introduced me to musicians who stood up for specific causes. Janna Pelle, for example, raised awareness for pre-Leukemia. Then, YUZIMA addressed the pettiness of homophobia with his artistic flair.

Looking back on a fantastic year, I am curious people say in the final weeks of 2014 about The Governors Ball Music Festival, New Music Seminar, and CMJ. I look at what people Tweeted over past three weeks and created a word cloud analysis to understand what was trending in regards to these events. Here is what I learned.

Governors Ball Music Festival

GovBall2014_Word_Cloud

“Tbt” appears in this word cloud as one of the largest after GovBall2014. Those of you Twitter fans know it stands for “Throw Back Thursday.” Naturally, one can assume that many remember the 2014 Governors Ball Music Weekend in the final weeks of December. As for musical acts that appear in the cloud, it appears that the Strokes and Vampire Weekend show up on most these Tweeters’ minds as December comes to a close. Out of all the musical acts that the Governors’ Ball brought New Yorkers; these were the two bands which came out on top.

In terms of consumers’ behavior at the festival, aside from the obvious subject, music; the words “festival,”  “photos” and “selfies” might indicate that this event was also a time for many celebrating together to make memories. Based on the activity I saw of people interacting with one another, I can say this is definitely the case.

New Music Seminar

NMS_Word_Cloud In the case you notice this word cloud is more compact than the last, that is for one reason only – I wanted to make sure I gathered at least 100 Tweets for each cloud. In the case of the New Music Seminar, those Tweets extended all the way to June 11th, the day after the event concluded. Meanwhile, GovBall2014 and CMJ, included 100 Tweets that were posted between early December and now.

So what do I see for this word cloud? Aside from New Music Seminar, I see “marketing,” “insights”, “streaming,” “industry,” “underground,” “marketers,” “Tips,” “Tune,” and “Battle.” This last word most likely refers to the battle of the top three bands at the 2014 NMS looking to win prize money. These bands included VanLadyLove, Kiah Victoria and June Divided.

VanLadyLove seems to be the only band which has appeared in the cloud. This is no surprise since they won the battle of the bands at this year’s NMS. Just like the word cloud for GovBall2014, you will see TBT. So what did Tweeters throw back on Thursdays where the NMS is concerned? Pics and articles of artists from the NMS in the late 80’s and early 90’s who quickly became famous, including Nirvana and Madonna. These Tweets that go to show readers that no one can ever expect who from the NMS will make it to the mainstream in the music industry a few years.

CMJ

CMJ_Word_CloudIn the CMJ cloud, the words which stood out to me include “new,” “songs,” “Jazz,” “Videos,” “news,” “one,” “unbreakable,” “interview,” “best,” “premiere,” “Murad,” and “Lucie.” How relevant are these words to what people have tweeted about CMJ in the last few weeks? Here is what I observed:

Jazz refers to “The Jazz Junes” from Philly, which have been popular in many Tweets. An interview with CJAM 99.1FM (Windsor, Detriot, MI) Music Director, Murad Ezrincioglu by CMJ received plenty of attention. Then, the English-born, New Zealand-raised, Nashville newbie, Lucie Silva premiered her song “Unbreakable Us” at this event too.

Social Listening in Popular Music Research

Although only 7-10 tweets included any interest in Murad or Lucie, these are the only news sources that showed up consistently throughout all the content from the 100 posts I gathered. I have also noticed in the Tweets for the Governors Ball Music Festival and the New Music Seminar that some subjects will receive more popularity than others. Now I ask, what matters more when reporting about Twitter trends regarding an important music event, quality or quantity? Here is what I think:

The number of Tweets leads to a clear distinction of what is popular by quantity, enough that it can be considered a trend. Further, the more people tweet about a subject, the greater the variation of the audience. On the other hand, the quality of the content of what people tweet provides insights to the concepts people consistently associate with CMJ, something known as brand mapping. In addition, the strongest content will include a specific emotion, strong mood or preferential word within the Tweet and include a link to a specific web page. Such messages include content like:

@LucieSilvas, I think I love you. This is beautiful. http://www.cmj.com/news/track-premiere-lucie-silvas-unbreakable-us

Check out this Q&A by @CMJ featuring one of our favorites Murad Erzinclioglu of @CJAMFM! http://www.cmj.com/column/on-air/qa-murad-erzinclioglu-music-director-cjam/

The smart chart I have made below shows that looking at both quantifiable and qualitative information within the content is important.

Quantity vs Quality

 

For whom does this information matter? A marketing consultant or public relations consultant working with a musician, or a music journalist? I would say for both. At least this is what I learned as a marketing student at Baruch College, as I completed a course in web analytics and intelligence. In this class, my final project involved working with Brandwatch, a social media listening tool and using it for the Music Historian.

While I did not know it then, I would soon learn that tools like Brandwatch looked very closely at trends on Twitter regarding specific news stories and examined both the quantity and quality of Tweets. When I did some research about the music consumer at the Governors Ball Music Festival back in June, I used this tool to see which Twitter users would be most interested in attending the event. Please read more here. Further, those who expressed interest by Tweeting about bands they looked forward to watching at the festival, made part of a specific demographic I would have never discovered otherwise.

Social listening is certainly one way to gather information about music consumers who would show interest in the musical talents at a specific event. Most importantly, social listening might also provide marketers, public relations experts and journalists information on how audiences perceive a musical event without having to reach these consumers personally.

What I would like to see in Music Journalism

While social listening is one way journalists can improve their research in regards to what people say about new bands and music; I also would like to see more actual music journalism. Just like I discussed with Janna Pelle last month, former musicians have their reasons for discontinuing music. Nevertheless, they still have an ear for music that they had developed when they played an instrument and spent more time performing.

I would like to see journalists who have played instruments once upon a time, to incorporate their musical skills into reporting on new music from rising talent. Although I understand entertaining content reaches audiences easier, readers are seldom challenged. Perhaps this is due to my bias that there is an art of asking quality questions. What are quality questions? Let me explain:

Avoid ‘yes’ or ‘no’ Answers 

These types of inquiries should only be asked if they are essential to the context of the conversation.

If your research can already answer the question, DON’T ASK!

If a publicist provides you with a press release about an artist who announces they are working on a new project, study that release. Doing so will help prevent redundancy and focus on what you really want to know about the artist. Further, the artist you are interviewing is also a business person with plenty to do. I guarantee the artist will feel like you are respectful of their time by asking questions they have not already answered through any press materials, including their social media profiles.

Stick to the music

Like many, I agree that you don’t need to get too technical with an artist about their songs. You are trying to understand what motivated a musician in their songwriting by listening to their answers to your questions. On this note, don’t ask loaded or uncomfortable questions about a performer’s personal life, finances, or families. If the musician specifies that personal values like religion, social issues or inspire their songs, then you are welcome to ask these questions. Remember to ask in a context that will not diverge from the topic you are most interested in – their music.

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Yuzima’s Insta-Album, BASH: The Pop-Up Album That Unites Anti-Homophobia & Mysticism with Punk

Yuzima Philips, Press Photo, for the BASH, the insta-album released on Oct. 7, 2014 What do you call a collection of songs, created to represent a specific theme, which are then released as an automatic response to a quickly changing world? Yuzima, the indie luminary who graced the Music Historian with his 2013 industrial-themed LP, THE MACHINE, calls it an insta-album. Since this release is very spurring of the moment and surprising, I thought an interview article of the same spontaneity with a New York City musician that has gained my artistic respect was very appropriate.

During the creation of THE MACHINE, many additional musical ideas hit Yuzima, especially during one influential visit to New Orleans. The artist also thought about what was happening in the world at that time, specifically the issue of homophobia. All of these experiences funneled down into one creation, the three song album titled BASH, which Yuzima will release digitally on October 7th.

The self-titled track on the Insta-Album opens with a heavy U2 influence in the vocals. Then there is the musical component within the guitar and drums that I have not yet heard within an indie song – polyrhythms. In this musical element, and in the case of “Bash,” the electric guitar plays the melody with syncopation and many rests. The drums work to fill in the silent spaces of this guitar melody.

Listeners taking in “Bash” will hear the intricate relationship between the instruments. Further, they will feel the physical space created by the echoes – which are recited with crescendos and decrescendos – Yuzima creates in the chorus. This chorus quickly follows a verse that contains the following lyrics, we are different yet the same, straight and we are gay. Naturally, I wondered whether the next two songs on BASH would carry the same type of instrumental feel.

“That seems to be a touchstone for me – a little bit inspired by U2 and then transformed into my thing,” explains Yuzima. “Madame Laveau has a bigness to it… I drag in synths. I think of art like the cosmos; U2, The Beatles sent out creative energy and folks like me are transmuting it, and sending it back.”

In regards to the lyrics mentioned above, Yuzima claims he was “on the fence about that lyric.”

“I thought it might be too straightforward, but I made the artistic decision that the message still needed to be said and heard. So I kept it. I don’t believe in race, in ‘black people and white people.’ I think we have interests that either unite or divide us, and that [theme] was a big part of my last record.” BASH, cover art, a pop-album by Yuzima, to be released on Oct. 7, 2014

On the subjects of interests that either unite or divide us, gay rights and the issues of homophobia comes to mind. When I was a child, I received plenty of homophobic slurs from my peers. While this eventually disappeared for me – mostly because these slurs came from bullies or classmates who were very immature and insecure with their own sexuality – for many, unfortunately, homophobic bashing does not stop in adulthood.

Yuzima claims that his pop-up album delivers a theme of anti-homophobia. The musician explains, “Homophobia is awful and cruel. At the same time, it’s insanely uncool. When folks engage in hate, it makes them look way out of touch. That’s where music comes in – artists are the purveyors of cool. By putting homophobia on blast in a punk tune… we assert ourselves.”

BASH also has a rebel post-punk theme. Meanwhile, “Madame Laveau,” is a progressive reggae-ish rock number inspired by the New Orleans voodoo legend, and “Light Love” is a spiritual pop number. Yuzima’s trip to New Orleans inspired him to creatively marry this rock ‘n’ roll genre with the wild jazz and voodoo energy of the Louisiana city.

“I loved New Orleans. You don’t know jazz until you go there. I’m always heavily influenced by places I visit. I’ve written songs about Miami, Venice Beach and New York City – where I live.

“Part of the reason I went [to New Orleans] was to inhale the scene – to be touched by the magic. The moment I touched own, I wandered the streets and [entered] a store called Marie Laveau’s House of Voodoo Readings. It was one of those transforming moments where I came out a different person and I had to write a song about it. The concept of the Insta-Album is to get that inspiration out – not have it sit around for half a year. I came back to NYC, started writing, recording and voila!”

Prior to embarking on his trip, Yuzima knew there was something down in this city he wanted to experience – voodoo. I wondered what interested him in this mystic practice. He says:

“I love the idea of something that has not been adulterated by the modern world. It’s stronger than technology. Old voodoo ceremonies seem to connect us to the spirit world and the old world [in a time] when everything didn’t have an [immediate] answer. Also, there is a hidden power in music, which voodoo kind of exemplifies.”

Yuzima poses for photo shoot, for his insta-album, BASH, to be released digitally on October 7th So, Yuzima parallels multiple themes or ideas that perhaps don’t belong together, like the purity of mysticism next to the unrefined and grimy feel of punk music. Meanwhile, the coupling of rebellion against homophobia and a spiritual trip inside Marie Laveau’s House of Voodoo Readings seems almost impossible. Come October 7th; listeners will have a chance to understand how Yuzima’s signature new age punk will connect these juxtapositions into a musical relationship that will be just as intricate and exciting as his single “Bash.”

My last question to the artist was, “why come up with this new album format? Is it for more effective marketing for a longer album coming down the line, or does it excite fans more?” Yuzima answers:

“It might be…but artists today can’t just rely on the past formats. Bands innovated before us, it’s our job to carry the torch and innovate for today.”

Yuzima also claims he plans to release two more insta-albums. Yet, one might ask themselves, why not just wait to release 10 songs in a full-length album? The answer, based on what Yuzima tells me might reside in the fact that letting a musical idea or message sit for too long will eventually lose its level of pure artistry. Further, an artist might fall in the trap of overproducing a song.

All artists will greatly benefit from the traditional process of focusing solely on a full-length or an EP. This insta-album is a new way of releasing music, especially since it can allow musicians to focus more on their art. Most importantly, this can serve as a trial and error period to see how fans receive an artist’s new musical idea. Could Yuzima be onto something? Maybe.

“When others say “no”, find a way to “yes”: Tina Shafer of the Songwriter’s Circle and her advice for today’s musicians

TIna at Young Performers Night 2014, at The Bitter End night club Many artists we have come to know experienced their first big break at the right place and the right time. This is especially true for Billy Porter, a former pupil of songwriter/ vocal teacher and founder of The New York Songwriter’s Circle, Tina Shafer.

“When I worked with Billy Porter – who won a Tony 2013 for his performance in the hit Broadway Musical “Kinky Boots” – he was an unknown singer with one of the most amazing voices I had ever heard. In the late 90’s he got a record deal with my help on the A&M label.   He later went on to perform “Love is On the Way” a song I co-wrote for him that became the Center piece song in Bette Midler’s film “The First Wives Club”.   Later that year, Celine Dion cut “Love is on the Way” and it ended up on her album “Let’s Talk About Love”.  The Album sold over 33 million copies worldwide because it also contained the song “My Heart Will Go On” from the blockbuster movie “Titanic.”

The songstress, who I had the pleasure of meeting in-person at a performance at the New York Songwriter’s Circle held at Bitter End last month, also talked about another former vocal student named Lana Del Ray.  Those who follow Lana know her break was very different from Billy Porter’s.

“Lana, when she was studying with me,” recounts Tina, “wrote the song “Video Games” and most of the attention she first received was through online bullying.   She is very beautiful and an easy “hate Target”. As people started listening to her they then started actually liking her music.  There was a whole backlash of people that starting standing up for her.  It became a viral phenomenon.

But then, where do you go from there? How do you keep your fan base and the customer in mind?”

Music Historian has welcomed advice on how to make it in the music industry from current and former record producers, music publishers, A&R representatives. Now, I welcome advice from Tina Shafer, who is a vocal teacher, singer-songwriter and the founder of the New York Songwriter’s Circle that helps provide a welcoming community to those who work in the beautiful, yet sometimes, lonely and cutthroat world of songwriting. I welcome Tina Shafer to my blog.

Before I get into what Tina advises to current and aspiring musicians and songwriting professionals, I want to share her story about how she became involved in songwriter and began with The New York Songwriter’s Circle.  Music served as the background to Tina’s life. Her mother was a composer, and she brought Tina up in a house where there was always music. At the age of 4, Tina started to learn music in an experimental class for young children at a conservatory in Cleveland. Tina explains:

“They [the teachers] were trying to prove they could teach difficult theory and composition to young kids.  This is similar to the way they teach languages now to young kids.

“The first time I really decided to become a songwriter was when I listened to my first Joni Mitchell record. I was in the 10th grade. From there on, I decided to pursue music and songwriting.”

Just as she finished high school, Tina made the move to New York City, by herself, where she did not know anybody. She performed in clubs, including the Bitter End, and picked up any gig she could do. After 10 years in the city, she obtained her first publishing deal as a songwriter with Warner Chappell and started working with some big names. In addition to Billy Porter, she has written for Celine Dion, Donna Summer, Phoebe Snow, and performed with John Oates (Hall Of Fame), Suzanne Vega, Marc Cohn, The Hooters, The Spin Doctors, Gavin DeGraw, to name a few.

The New York Songwriter’s Circle officially started in 1991 held the first Monday of every month at the Historical Bitter End located in New York City’s West Village.   Tina originally took over the circle as a temp for the original founder. The woman who was initially in charge left to Nashville for a trip and decided to not return. In 2016, The Circle will celebrate 25 years of facilitating rising talent. I then wondered how the business model worked. 

“The New York Songwriter’s Circle is a platform for great talent and up and coming writer/performers but her own company “Tina Shafer Inc.,” I work as an executive producer, developing talent, and putting together  the best creative package to represent that talent.  This often includes, putting together all the musicians, writers, and producers, making an LP and finding the proper promotion.  This is known as “Content packaging”.”

The last component of her business model; marketing, is perhaps most crucial. According to Professor Ana Valenzuela, a faculty member at Baruch College, 75% of a plan for any type of business involves marketing. The other 25% are finances. Marketing enables entrepreneurs to understand who they are as a business, which customers they serve, and what makes the customers return to use the product or service.

Based on what I learned at the New Music Seminar earlier this summer, the same holds true for musicians. They must make music for their audiences. On the same token however, the music industry has changed dramatically in the last 10 years, making artists perhaps more vulnerable.

“When Vanessa Carlton – another Grammy nominated artist and student of Tina’s appeared at The New York  Songwriter’s Circle before making it big – (in 2002), some of these new artists received $400,000 advances  on their first record,” said Tina. She adds that in those days, record labels fostered artists’ development, now, labels do not want to pay for this. On the other hand though, Tina, just like Daylle Deanna Schwartz, asserts an artist does not need a record deal. She explains:

“All you [the artist] need is a great booking agent and advisor. Then you tour, make money from that, and create a record on your own. In a way, this is good, but it costs money to have a booker, a website, you have to pay for so much.

“Now, you have to be self-propelled. Ed Sheeran, for example, was couch surfing and writing with everyone and anyone he could when he started out, then got some air time. Then, he started touring with Taylor Swift.”

While so much has changed in the music industry, Tina reassures songwriters that even when record labels stopped paying for artistic development, Napster started satisfying customers who could get content for FREE, and self-recording and digitization has become more prominent; the only thing that has not changed is the need for great content. In other words, excellent records, songs, playing and performances. We are slowly catching up to the ways of the internet and trying to find avenues to get payment for content.

However, like everybody working in music, I heard a lot of ‘no.’ Even while I was in college, many of my colleagues who were vocalists were told they would have the hardest times finding work after graduation. Now, I find myself talking with a Tina Shafer, who is a conservatory-trained vocalist and guitarist who managed to make her dreams of being a singer-songwriter come true. Naturally, I wanted to know whether she had any advice for someone who is currently in college or in the music industry and receives a lot of discouragement.

“Anyone who goes into the arts will almost always hear that they are not going to make it,” says Tina. “You have to find a way to say, “that is not going to be me”. You have to recognize your strengths.  You may be an ensemble player, you may be a soloist, there are many avenues of music to explore”. “When people said “no”, it gave me [the chance] to find a way to say ‘yes.’”

Tina carries these encouraging words to her sons. Her oldest, Ari Zizzo who is 18 and becoming a well-known teen songwriter.  He has so far, opened up for artists like Mumford and Sons and this summer will open for Emblem3 and Demi Lavato at the Pop Tarts Concerts in Chicago.

Thomas, her youngest who is 16, is a sophisticated writer who hopes to become a film critic. The boys’ father is also a music producer. (Peter Zizzo)

Tina Shafer at the Songwriters Circle on July 7, 2014, The Bitter End In addition, Tina applies this lesson to The New York Songwriter’s Circle. While her company also works to help artists create content, Tina confirms that musicians must push themselves to connect with their own fan base, communicate with their customers directly, and get out into the performance spaces. In addition, good music will not change, and a great song has a way of rising to the top.

One might bump into a cynic who discourages them from continuing with the music industry, but remember this – while music is an undervalued industry, music consumption will double within ten years. Thanks to digital technology, the artist, who I believe can now become more personally involved in the marketing and distribution, has the chance to ultimately get closer to the consumer via social media. Therefore, the consumer can have a better relationship with the product. This gives way to great branding opportunities exist for today’s musicians. Also, musicians trying to fund a record through KickStarter.com help create business while increasing communication with their supporters and customers. Finally, digital vehicles like iTunes and Spotify can immediately deliver music to buyers. Fantastic customer service, right?

If you are a musician and worry about making money, your best option is to focus on the customer. A returning customer, whether it is a loyalist who will come to your shows or always buy a new record, will bring you the most financial return. Lastly, I can attest, that customers return for the good music. So don’t stop doing what you’re doing. Tina didn’t stop. If you happen to be a singer-songwriter looking for some help, check out The New York Songwriter’s Circle www.songwriters-circle.com

You can also check out Tina Shafer directly Tinashafer.net.

The Desert Sharks’ Hook-Drenched Rock ‘n’ Roll Tunes: My Interview with Stephanie Gunther

Desert-Sharks_CakeShop When I touched base with Stephanie Gunther, the vocalist and bassist from the Garage Rock Band, Desert Sharks, I felt excited to talk with a rock ‘n’ roll band that puts so much vulnerability into their songs. “Tequila Shark” was the track that attracted me to this Brooklyn-based all-women group, with a grimy bass line, and tinny sounding guitar which seems to echo, creating a space within the music for Stephanie’s beautiful alto voice. In the second verse, she sings the lyrics, I had a dream/ we had just met/ you showed me through your hallways/ and asked me would I stay. Fast forward to the chorus she sings It’s all mine/ your love’s in my mind, and then these lyrics repeats one more time.

When I asked her about the lyrics, Stephanie said, “I was exploring how we can go to such depths of dreaming up scenarios in our mind about someone we pine over. You can have all these fantasies of what it would be like to be together, how every detail would go down, where you would go, how you would interact, how much in love you would be.

“You can literally picture it and sometimes start to feel the emotions as if it were real, like you are having this secret mental affair with someone and they have no clue. I wrote, “Tequila Shark” about two dreams I had about two separate people, and that went along with those ideas.”

The most attractive aspect about the lyrics involved the vulnerability and honesty of the storyteller. In addition, there is very little mystery and interpretation of the meaning. Desert Sharks will remind rock enthusiasts that female bands continue to push past the gender stereotypes, and can do so with grace, and create opportunities for themselves independently in hopes to get recognized by a label. All of these are reasons for players in the music industry to pay attention to this group who were also in the Artists on the Verge class of 2014 at the New Music Seminar. It is my pleasure to feature Desert Sharks on Music Historian.

Stephanie says that when the band first started, people immediately doubted Desert Sharks.

“We’d get comments from people who first saw us on stage that they didn’t expect us to be any good, due to being female. Then, they’d say we blew them away. Now, it’s less about gender and more about our set, who we reminded them of and how they felt during our show. We’ve met some really awesome and supportive people at our shows. That’s one of the best parts about playing,” says Stephanie.

While some stereotypes are easy to disprove, including the one that says women can’t play instruments, women still have to work perhaps twice as hard as a man to make it in the business. Luckily, Desert Sharks don’t let challenges slow them down. Instead, they look to create opportunities to help them get closer to their ultimate goals – making a living with music.

“We’d love to work with someone on a full-length. The biggest task is getting heard. Our focus is on writing, playing shows, recording and touring,” explains Stephanie.

At the moment, Desert Sharks have an EP and vinyl they released in early 2013 which was recorded at Converse Rubber Tracks Studio, post-produced by Adam Reich, and pressed through Double Dare Ya Records, titled Sister Cousins. Just a few weeks ago, they released their 2014 EP on Manimal Records, Template Hair – an occasion that was marked with a show at Shea Stadium in late June. The promotion for their latest record will continue with a tour in August. Sister Cousins vinyl and Template Hair cassettes are available for purchase on Desert Sharks’ bandcamp.

In the short time they have been together (since 2011), Desert Sharks have played with bands they look up to, recorded and worked with a few labels, and toured. This four-piece group continuously set their sights on greater projects like working on a full-length with somebody in the future, touring out to the Midwest, where Stephanie is from, and getting signed. In order to reach these benchmarks, the group continues to dedicate their time to as Stephanie would say “making our music better and better.”

“We’re constantly writing new material and are anxious to get it recorded and out there for people to hear,” Stephanie adds. Desert Sharks Press Photo

Like I learned at the New Music Seminar in the panel The A&R Movement: Where is Music Headed? good music rises and makes its way to several listeners and to A&R representatives. I also learned that there is an opportunity for guitar-driven genres to make a comeback as well, which presents an opportunity for Desert Sharks. Songs like “Tequila Shark” can act like one of the Desert Sharks’ strong songs.

Aside from the fact that garage rock – according to Stephanie – can be “sexy, heavy, sweet or dancy,” “Tequila Shark” has an impressive compositional structure of A, B, A, B, C, as opposed to A, A,’ B or A, B. In my opinion, the more varied the sections within the song, the more interesting and exciting the track is to the listener. In addition, the lyrical content, which is straightforward and honest, lingers somewhere between vulnerable and impermeable. I asked Stephanie whether the realistic scenarios behind these lyrics focused on past romantic relationships, friendships, struggles or anything else.

“I’d say yes to all of those things,” begins Stephanie. “A lot of it is from my own life experiences, some of it, like our newest single “crazycrazy” is from someone else’s point of view put into my own words.

“When we start writing a song, I’m never quite sure what I’m going to write. I write at home a lot and put notes in my phone of phrases that pop into my head. Once we put together a song musically, I start to actually feel out the vibe. [I ask] ‘Does this song sound happy to me, does it sound sad?’ The hardest step for me usually is deciding the subject matter. Once I know what I want to write about, I can shape the words to fit the melody.”

While Stephanie loves Garage Rock, and agrees that this style influences Desert Sharks’ music, she admits that describing the group’s style of music is never easy.

“Garage and surf [rock] definitely influence our music, but I’d say we’re also heavily influenced by metal, punk, goth, pop, and more. Describing your style of music is the worst thing ever, especially when every band is a mishmash of influences. You end up [saying something] like, ‘Oh, we’re like The Ramones meets Dolly Parton meets Sabbath meets the Spice Girls.’ People get hung up on trying to label it and it gets hard to navigate. You want to say ‘just listen and see for yourself.’ Choose your own adventure and draw your own conclusions. It’s all rock ‘n’ roll in the end.”

An additional challenge to being in a rock band is making decisions with a group. The ladies within Desert Sharks “all share strong opinions,” says Stephanie.

“It usually takes a long time to come to a decision. Figuring out a [band] name was no easy task. We wrote “Tequila Shark,” and afterwards, some of us said ‘that’s a cool name, should we just call the band that?’ Desert had been a word on a list of words we dug, so we stuck desert and sharks together. It was the first name we came up with that we all didn’t hate.”

Since 2011, this band has built an excellent resume. The greatest strength they have developed as a group is their willingness to be flexible while they maintain strong attitudes. Their talent for writing a lot, and having a wide selection of songs is also beneficial for any A&R representative looking to sign a female Garage Rock group. From starting off with a Craigslist ad and arriving at Shea Stadium, Desert Sharks have made a healthy journey.

“We met through Craigslist,” recalled Stephanie. “The stars were aligned for that one. Rebecca [Rose, the drummer], Sunny [Veniero, the guitarist] and I met up initially with another girl and wrote a song together. We were sort of just jamming and playing around with ideas.

“The other girl had prior commitments to another band, so she left. We put out an ad, and Stefania [Rovera, the additional guitarist] answered. It was the missing puzzle piece. Once she joined we started writing a ton and felt like we wanted to start playing shows.”

Desert Sharks Bkyln Vegan There are plenty of rock ‘n’ roll listeners out there who want to hear this type of music and Desert Sharks might be at the right place in time to get recognized. People still line up to see independent Garage Rock bands in the United States. As for guitar-driven music, based on what I listened to at the New Music Seminar and what I saw at the Governors Ball Music Festival, there still exists an audience for The Strokes and Jack White.

Regarding my final question for Stephanie, I wanted to know what she thought of the motto “Rock is Dead.” She explained in two words “rock ‘n’ roll reincarnation.” Based on my interpretation, this means rock ‘n’ roll is alive and well, just in another form.

Female bands continue to make a comeback in rock ‘n’ roll, and like the Desert Sharks, they dedicate their time to writing songs, making records and performing in both small and large venues. These sharks are coming up to the surface with their hook-drenched tunes and ready to enter new territory – the wild music industry. The greatest strength of this group is their ability to carry listeners within the strong currents of their 2-3 minute tracks, a talent which – based on my listening experience – has been difficult to replicate on today’s music scene.

Dive Into The Minds of Industry Players: A Review of the New Music Seminar

If you currently work in the music industry, or aspire to, the New Music Seminar deserves your attention. I had the privilege of being invited by the Workman Group to attend and cover the three-day conference which brought together music and entertainment leaders committed to exploring ways to expand and grow the business.

The New Music Seminar started with a bang with a red carpet and performance at Webster Hall on Sunday, with a line-up which included ASTR, Cardiknox, Mayaeni, Born Cages, and Meg Myers. On Tuesday night, at 11:15 pm at Tammany Hall with a performance by the winner of the Artist on the Verge Awards 2014, VanLadyLove.

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The three-day conference took place at the New Yorker Hotel in Midtown and occupied two floors with booths that for the following companies, Buzz Angle, GCA Entertainment, Showpitch, Music Times, Corbin Hillman Communications, ASCAP, Noise 4 Good, Steven Hero Productions and more. These firms offer services in royalties, publishing, digital distribution, data mining of online music consumption, music journalism, artistic representation, and artist and repertoire. In addition, the conference rooms on these two floors served as meeting places for panelists and discussions, and mini acoustic showcases with some of the artists selected for the Artists on the Verge Project 2014.

The New Music Seminar conference helps industry leaders and players better understand how consumerism and music is evolving and how they can continue to innovate. In addition, this same conference brings the New Music Seminar Music Festival. Musicians have the chance to perform for a large audience and industry players, and develop valuable partnerships with producers and managers.

While I have five full-length interview articles in the making with these five bands that were invited to the NMS Artists on the Verge Project – Juicebox, The Dirty Gems, Desert Sharks, Kim Logan and the Blackfoot Gypsies – I first want dive into what I learned from A&R representatives, music publishers and the staff of Pitchfork in some of the panels in the past three days. More specifically, I will take you through what label representatives look for in an artist before they invite them onboard, the types of criticisms new singer songwriters typically receive, and the dos and don’ts for publicists who work with musicians.

The A&R Movement: Where music is headed

Let me start backwards. On Tuesday, the last day of the seminar, David Massey, President of Island Records conducted a conversation between nine A&R representatives: Tayla Elitzer (Capitol Records); Alyssa Castiglia (Island Records); Brandon Davis (Atlantic Records); Jon Coombs, General Manager at Secretly Canadian Publishing; Jenna Rubenstein, Creative at Insieme Music Publishing within Glassnote Entertainment; Austin Rice (Columbia Records); Jessica Strassman (Startime International); Patch Culbertson (Republic Records); and Dylan Chenfeld (Razor & Tie). Here are the essentials that musicians and A&R representatives alike should know about music today.

Trends in Music

Panelists emphasized which particular styles currently excite label reps. Electronic, rhythm and blues, and emerging trend of world music, deep house music from the UK are among these genres. In addition, there is a cool cross between electronic and indie, better known as Indietronica. Avicii is one artist who accomplishes this by mixing electronic dance music with bluegrass. Another artist who combines guitar driven music with electronic dance beats is The Chain Gang of 1974, who recently performed at the Governors Ball Music Festival.

On the topic of guitar music, another speaker claimed there has been a significant void in guitar-driven alternative music, providing musicians within this genre to re-emerge. He added that bands like this who entered the scene more than 10 years ago, including The Strokes and Jack White, still drive large performance crowds. The way I see it, there is no reason why someone now cannot come out and do the same. An audience for this music still thankfully exists.

A&R, Musicians and Social Data – What works, and what does not

One of the most important pieces of information an A&R rep must keep in mind is the difference between data and buzz. When researching an artist, data is crucial. One must put their personal taste aside and understand the consumers’ tastes. While start-ups like Buzz Angle, who are currently in their beta-testing phase, record data of online music streaming and purchases; the other type of public data most A&R reps use is Twitter. Retweets of videos, hashtags of performances, and robust discussion about the artist serve as valuable data. Additional social metrics includes plays and followers on Spotify, and views on Youtube.

If you are an artist, please note that an A&R person wants to know you are going to sell records. One of the panelists signed the New York City-based Indie Rock band, Born Cages based on how many times the band’s songs and videos were retweeted. Although he had not seen the band play a single show before signing them, he believed in them. In addition, after speaking to the band in person at the red carpet event, this group claims performing is their favorite part of their career.

In short, social media and staying relevant on the music scene is essential. A&R reps will also tell you that now, more than ever, musicians must create a marketing plan and build a fan base by themselves.

On the other hand, some social media presents a negative. The panelists mentioned a habit of some A&R reps adopt involves aimlessly following buzz about an artist on blogs. The problem with unsigned bands made ‘hot’ within the blogosphere is that these articles don’t help the A&R rep determine whether that band will be promising to sign. I agree with this claim. Unlike twitter, which marketers across the advertising industry have utilized to research the purchase intent of customers, blogging platforms do not provide this data or information about the consumer.

Key Performance Indicators – Play Live and Good Songs

Data has not entirely replaced a good ear for talent. Some of the reps on this panel claimed that a strong instinct about the artist must come before research. This might include the bands that one’s friends talk about. Most importantly, musical ability can be used to judge how well an artist performs live. As a rule of thumb, A&R reps do not think highly of a band that does not often perform.

If you love to play live but perhaps are not them strongest performer, there are ways A&R reps can find you help in establishing an excellent stage presence. In this case, the A&R rep might not sign you right away, but they might start developing a relationship with you, hopefully as partner on your journey. However, several panelists did agree that most of the time, the longer it takes a sign a deal with the artist, the better. There are A&R reps who have attended a musician’s performance 14 times and they regularly keep in touch.

What if you are an artist who loves playing live and plays well, but do not currently have any original music? A&R representatives will tell you, songs lead the way. Good songs have a way of rising to the top. If you don’t have any original songs, they do not feel compelled to bring you on board. Finally, selling singles and full albums still serve as an artist’s main source of revenue. This is one trend that has not changed.

So what has changed in A&R? The availability of information about the artist and their potential as an economically successful artist is now more public than it was 10 years ago. In addition, the competition on the musical landscape today escalates rapidly.

The Take Away

The most valuable advice this panel had to offer to the artist looking to make money with their music is this, always remember the music should be about your fans. Deliver the music your fans love. Thanks to social media, artists now have an excellent way to interact with fans and secure that base that is going to help the musician get attention from an A&R rep, and hopefully get signed.

Now, if you have always been musically inclined, enjoyed performing, but are just starting out as a songwriter, and might be looking to work with a label or music publishing group, keep reading this post. I am going to give you an idea of how it feels to have your music critiqued by A&R people and music publishers in the overview of this next panel.

Music XRAY Presents: A&R Live – Music Critique and Sound Selector Sessions

This panel was conducted by Mike McCready, Co-Founder and CEO of Music Xray. The players included Tayla Elitzer, Jenna Rubenstein, Alyssa Castiglia, Stephanie Karten, A&R from Robbins Entertainment, and Chloe Weise, A&R from RCA Records.

I arrived late to this discussion, but luckily, the guitarist from the Boston-based band The Venetia Fair, Mike Abiuso – who I had met at the opening night at Webster Hall on Sunday night – was able to fill me in on what I missed. He said that earlier in the program, “The critics assumed nobody would want to listen to a demo of a song because it is an unfinished product. When they [the critics] asked the audience however; many listeners said ‘yes,’ they would listen to a demo.”

Michael also explained the process of how this panel would critique music. They would read off the names of some of the Artists on the Verge, class of 2014, and then ask for a CD of their single and play it for the entire room to hear, and then publicly share their criticism. This type of workshop will help singer songwriters and performers in the early stages of their career in the following ways: 1) It will help aspiring musicians build a thick skin towards criticism; 2) This is a great opportunity to receive constructive criticism; and 3) They will learn what record labels search for in an artist who is looking to get signed.

Some of the Songs up for Critique

The first song I took notes on was “Insomniac” by The Dirty Gems. Upon listening to this track, the panelists said, “While the vocals were good and I liked the guitar in the forefront, I don’t see a lot of hit potential. Strengthen the verse a little bit.”

Afterwards, the panelists chose “Call on Me,” a Hip-Hop track by rapper Just So Smooth. The speakers pointed out, “No dynamics, the melody is static. The hook needs to be cleverer, along with lyrics. Also, the phrase “call on me” has been used before.”

The last song review I listened to was about the dance tune “Problem Boy” by Toni Atari. “The production is not great, and the vocals are a little bit muddled,” remarked the panelist. She also suggested the artist develop her lyrical content and the context in this song.

A Critique of the Artists on the Verge Awards 2014 Finalists

Fast forwarding to the final panel of the day The A&R Movement, I thought it was only fair to include the A&R rep’s point of view about the AoV Awards 2014 finalists – Garage Rock group from Philadelphia, June Divided; R&B singer from New York City, Kiah Victoria; and Pop Rock group from Provo, VanLadyLove. Although everyone now knows the winner is VanLadyLove, I wondered who the A&R reps thought would win.

One of the panelists gave Kiah their vote. Another panelist said, “Kiah commands a stage, but she would do well if she focused more on carrying her pre-choruses a little further.”

An A&R rep stated they would sign VanLadyLove. One of the reps then stated this band “has a cool sound and great stage presence.”

As for June Divided, one of the reps claimed he would put this band in the “to be watched” folder. Another panelist positively commented on the band’s energy, but claimed “Their style is a little dated,” and emphasized the group needs to focus on their audience.

The Take Away

All artist starting out on the music scene must listen to criticism in order to improve their chances of getting representation. Luckily, these critics do bring up a few valid points. For example, ask yourself, “Am I trying to be a writer or artist?” This question is important in dance music, a genre for which they suggest the following – “Focus more on sophisticated lyrics. In dance music, the lyrics are not very deep.

“The music also has to deliver the same magnitude as the vocals. This comes along with more songwriting practice.”

Additional advice they provide is this, “Think really well about where your song fits in this time period. A sound from six years ago will not fly now.”

They then offered this last piece of advice, which I found interesting, “There is a lot of risks these days, so you have a better chance with a radio-ready song.” While three of these panelists, Tayla, Jenna and Alyssa, would also agree with those A&R reps from The A&R Movement panel who claim that an artist does not need to be on the radio to be successful; they suggest a radio-ready song just so that a single has the best quality possible. A poor quality recording could turn off the A&R person and prevent them from giving a well-written song a chance.

So far, I have talked about the types of criticisms new artists on the independent music scene will likely receive from industry players. Now, I want to take you to the last segment of this review – advice for publicists working with musicians; the dos and don’ts they should apply to their practices.

Online Media Music Discovery

Jay Frank, Founder and CEO of DigSin served as conductor of this panel, which took place on Monday. The players included Mark Richardson, Editor-in-Chief of Pitchfork; Andrew Flanagan, Writer and Editor of Billboard; Joe Carozza, Senior Vice President of Publicity of Republic Records; and Andy Cohn, President and Publisher of The FADER. The discussions between panelists provide me with advice for what a publicist should do in order to increase coverage about their artist, and what to avoid.

Do Tell a Story to the Industry Player

As a publicist, when you pitch an artist to someone else in the industry, ask yourself what makes the artist different and why that industry player should care about them? The type of story you tell keep the reader interested. Although some artists might want to hold back on the story, encourage them to speak and share.

Don’t Blame Publications for not Creating Enough Attention

The publications tell the artist’s story behind their music. An artist must convince listeners to care about them through music. While I attest the writer has to care first about the artist and the music they create in order to tell a great story; the publicist must be a mover and shaker, the one who helps start a relationship between the writer and musician.

On this note, the writer’s job is to help present a face to a record label, one that shows the artist has potential to stay with a label on a long-term basis.

Do Use Social Media to Create Attention

Publicists should push this, especially since artists today are on the forefront of their social media, and this can be curtailed to create new stories. Focus on how to get people to pay attention to the artist’s social media.

Don’t Rely on a Viral Music Video to Create Attention

Joe says “Many artists come in my office and say, ‘I want to make a video [for my artist] and I want to know how to make it viral.’ This is the wrong mentality. You have to spot an elephant in the room and see how it is different from everything else that is out there.”

In other words, Joe means that publicists must not put so much faith in a music video that will tug at the heart strings of Youtube, Hulu or Google Play users. One of the reasons might be that the music video, like the written article, is a promotional tool; it does not define to the listeners why they should care about that artist. If the music does not stick, neither will the video.

Do look at the writers’ past work before pitching them

Any public relations expert will tell you to research the media outlets that will have the most chance of showing interest in the person, service or product you represented. Would you send a press release of an album launch by an independent hip-hop musician to a magazine that covers strictly classical music? Probably not. On the other hand though, journalists sift through hundreds of press releases every day simply because they don’t feel the story fits with the publication’s brand identity.

Luckily, the agent will not need to examine each media outlet front-to-back and split hairs in order to decide whether or not to pitch the artist to this publication. Instead, they must judge whether the writer really thinks about music based on previous articles they have written. Can the writer generate new ideas about how to present a musician to a producer or record label? The publicist should ask this question.

Don’t think nobody will cover your artist because they are not big

Publications like Pitchfork will not solely cover bands that everyone knows. They recognize there is good music out there, but the artist might have a small audience. If you are publicizing an artist who writes memorable music and writes it well, then chances are someone will want to cover that musician.

Final Thoughts

The panels that I spoke of are the ones I attended. So many more took place at The New Music Seminar, I just couldn’t be present for all of those discussions. During the seminar, I also split my time between scheduling interviews with bands, researching their work for questions, having conversations with them, and traveling to their shows all over the Lower East Side. Indeed, the three-day conference kept me busy, and the experience is worth the effort.

Many believe investigating secondary resources like books, websites, television, newspapers, magazines and additional publications that talk about the evolving music industry is the most convenient way to learn about this business landscape. It is only convenient if you sit down and conduct all of the research. Based on personal experience, studying the most accurate information will take weeks. You can save time to learn about the best practices by attending a conference. The greatest benefit one can gain from the New Music Seminar includes the opportunity to network and mingle with additional industry experts, music entrepreneurs, and build new business relationships within one stop.

Tom Silverman, the Executive Director of the New Music Seminar writes, “It is surprising that something so essential to human happiness can be so undervalued. The purpose of the New Music Seminar is to bring people together to discuss new ways to increase the value of music.”

He adds, “The opportunity for music revenue growth is even bigger on a global scale. The largest growth potential exists in parts of the world that never had a meaningful music business. Now, billions of mobile phones can deliver music to music-loving people.

“As we change our paradigm from one of selling music to one of selling the attention that music drives, we will experience a doubling of the value of music within ten years – and another doubling in the following decade (New Music Seminar Guide Book, p. 84-86, 2014).”

Bibliography

New Music Seminar. The New Music Business: Guidebook NMS 2014. June 2014, New York, NY, USA. Unpublished Conference Paper, 2014. 84-86. Print.

Holly Henry, Ready to Present a Different Voice

Holly Henry, Singer Songwriter Holly Henry, the 20-year-old musician based in Minneapolis experienced the turning point of her musical career when she performed Coldplay’s “The Scientist” on season 5 of “The Voice.” Getting all four judges to turn their chairs after her beautiful performance marked the first moment she introduced herself to the public as a major talent. When time came for her to choose an artist to work with, she picked country musician and producer, Blake Shelton.

“I said to myself, ‘I will choose who turns first,’ and Blake turned within two seconds. He was ready to work with me,” recalls Holly.

While the young singer-songwriter and multi-instrumentalist chose to work with a country music producer, Holly does not define herself as a country musician. After finishing her time with the reality television show, Holly met with producer and founder of the Grow Music Project, Chris Tyng to record and produce her latest single “Hide and Seek.” While Holly exhibits the same voice from season 5 of “The Voice” within this new single; the lyrical content within “Hide and Seek” resembles something different from the pop songs she performed on the reality show.

In the chorus of “Hide and Seek,” Holly sings I’m stuck in the corner/ I swear I adore you. I asked her about the inspiration behind these lyrics.

“I do have anxiety, and I wrote the song “Hide and Seek” about that, and how it affects my life and relationships with the people I love,” she says.

I investigated her repertoire of original music further by listening to her 2013 acoustic EP, The Immigrant. The lyrics in the chorus for the song “Paper Clips,” she sings Life has just tripped you up by your laces. Then, there is the title track in which she sings Be still your love, your broken heart/ ‘cause I will kill it.

“Paper Clips” was about growing up and how we all miss childhood,” explains Holly. ““The Immigrant” focused on someone loving you more than you love them. These are the ideas that go into the songs, but the lyrics are open to interpretation.”

According to her latest interview in a documentary of her experience with the Grow Music Project, Holly is most inspired by artists like Bon Iver and Lana Del Ray.

“The artists and singers I am most inspired by are the ones who know who they are, and who have a different voice,” states the young performer. “It’s hard to find someone unique… so when you do find somebody different you can say to yourself ‘Wow, I’ve never heard this kind of music before.’ That’s [they type of artist] that really intrigues me.”

The most intriguing quality about this developing artist is that while she returns with a voice we are all familiar with, we now have the opportunity to enjoy something more refreshing – beautiful and youthful voice that expresses an old soul. At the moment, Holly is searching for a producer who will help her create her first full-length record, one that will showcase the voice she looks to present to the world. It is my pleasure to welcome this young artist to a full-length feature article for the month of June to Music Historian’s Hear, Let’s Listen.

Holly claims when she tried out for season 5 of “The Voice” in early 2013, she did so on a whim.

“They [the show] always hold auditions every year, in 4 or 5 cities. That year, they held an audition in Chicago. My parents watched the show, and they really liked it, and I also found the show interesting. My Dad said to me “you should try out.”

“At the time, I was also in my gap year, I had just finished high school and I took a year off to pursue music. Not purposely the voice in the beginning.

“I went to their auditions in Chicago and went through three or four auditioning processes before reaching the final blind audition. I was not expecting to get called back at all, I didn’t think I’d get past the open call. I hadn’t planned for it, it all just happened,” explains Holly.

During this time, Holly had already published videos of herself performing her own songs on YouTube. These videos grabbed Chris Tyng’s attention.

“He actually listened to my YouTube videos way before I went on “The Voice.” He planned on contacting me but when he learned I was going on the show he thought “she’s probably not interested.” When he found out I got off the show, then he contacted me.

“I didn’t want to let that opportunity with the Grow Music Project go. Chris either chooses an artist, or an artist applies, for his specific program in which they record a song for free and he shoots a video documentary [of the project]. It is a first step into the industry. Chris is a great guy. He sits down and gets to know who you are and then helps show your voice to the world. I was happy to have someone help me make music that fits my persona.”

Holly Henry and Chris Tyng - founder of the Grow Music Project

So far, Chris has worked with Holly specifically on “Hide and Seek.” Holly claims she would love to work with him again. However, she is also open to working with other producers. I was curious as to what criteria an artist like Holly uses when hunting for a producer.

“Listen to what they produce,” she says. “Listen to other things they’ve produced and then figure out who they are – are they more high tech or very acoustic? Try new things; you never know exactly how you will work with someone.”

While Holly looks to continue her acoustic styling, as she presents in “Hide and Seek” and her first EP, she is also open to adding new elements to her compositions.

The Immigrant was [recorded as] just acoustic because we wanted to create something and put it out quickly. In general though, my music is not completely acoustic but more along the lines of “Hide and Seek” and some of the songs on my bandcamp website like “More Than Nothing” or “Secrets Spoken.”

“There was a lot less production on The Immigrant, whereas in “Hide and Seek,” we added cello, piano, drums and various instruments.”

Holly claims acoustic is also perfect for her because some of her songs which include topics about anxieties, reflections and love would clash with a very upbeat melody. While some producers might worry that her songs steer towards the mellower and possibly melancholy, Holly never received a negative message about her songs. As a matter of fact, she received plenty of encouragement from her fans. Holly Henry in Chris Tyng's studio

“When “The Voice” happened, the whole experience kick-started a fan base and this whole new way of life for me. They say very encouraging things, and I am very lucky to have people follow me. I receive messages all the time, both about my music and my struggles. People who struggle with anxiety and depression tell me “your music encouraged me to keep going and trying.” Honestly, that’s all I want to [hear and] do. I just want to help people out.

“People say my music is relaxing. It is not jamming music. It makes the listeners say “let me sit down and think about my life for a minute.””

The next steps Holly looks forward to most within her music career is releasing another album.

“I am excited to release new material to my followers. As of now, I have only released a single and an EP. I want to give them something new and complete, something I am extremely proud of.”

As she continues to address internal struggles within her songs, whether experienced by her or someone else, Holly describes songwriting as a therapeutic endeavor. Performing, however, does come with the territory, one she treads gracefully and with poise. One can see this in her performances both on “The Voice” and in a recent show at Lincoln Hall in Chicago.

“If I am feeling anxious, I can write a song and get my feelings out. Although performing music is quite frightening for me. Performing does come with the territory,” explains Holly.

“I was less nervous during the first time I sang on “The Voice” for the blind audition because I had been practicing that audition song “The Scientist” for two or three months. I had plenty of time to build up confidence for that moment. Plus, I didn’t know what to expect when I first went out.

“In the beginning, there was not too much fear to overcome, I was not very afraid. Towards the end of the show, I realized if I were going to do music, I would have to push through the anxiety. I might as well power through, and do what I love.”

I then ask myself, if this artist’s anxieties do not show anywhere in her performances – perhaps as a result of her perfect practice and discipline – then why does she choose to talk about it in her music?

“I’ve chosen to be public about it [the anxieties] not because I want pity or attention. I do it to let people know ‘It’s all right.’ I know so many people who have social anxiety, which can be quite crippling. I don’t have social anxiety, but it’s very common amongst others. It’s also nice to talk about it because you feel you’re not alone in your problems. I just hope I make people feel better about themselves,” she expresses.

Holly Henry in the Recording StudioPopular music listeners need an artist who treats professional musicianship and public recognition with greater dignity, humbleness and respect. Holly Henry fills this need both with her music and her persona. Now, Holly requires a producer to recognize this and showcase her talent to the world with an album that features her latest single “Hide and Seek.”

“There will be an album at some point,” Holly confidently expresses. “I have most of the songs written for it, but who produces it is still unknown. I’d love to work with Chris again. He understands what I want my music to do. He doesn’t pressure me into making my music something it is not.”

Most importantly, the best producer, whether it be Chris or someone else, should realize that in order for Holly to present the world a new voice, she must continue to deliver the same type of authenticity she exhibited in “Hide and Seek.” Recalling my previous interview with music producer Roger Greenawalt, the one thing a producer might ask in return from Holly is that she is ready to push herself and handle challenges, which might include performing more or welcoming more instrumentation. By having these needs from both the artist’s and the producer’s side, Holly Henry is ready to start the process of putting her new songs on a full-length album.