Plugging into Modern Southern Rock: My Interview with Kim Logan

 Behind the full-bodied and slightly sweet vocals of Southern Rock singer-songwriter, Kim Logan, is a fiery woman who know what she wants and what she is about. Lyrics like I’m a real good catch and I know it… from “Voodoo Man,” And I’ll give you three, but no more, turns across the floor/ But then it’s your turn, boy you better learn to be a gentleman, from the chorus within “Gentleman,” and finally, I ain’t someone’s other half/ I don’t like you baby, but I’m like you baby/ I think I love you but I don’t know if I should/ because there’s already one of me in the neighborhood from the song titled “Neighborhood,” which you won’t find on her first full-length record, but on the landing page of Kim’s website, will get the message across to any listener.

Although she recently turned 23, Kim has had a long road of musical development and plenty of real-life experiences which she transforms into great songs. In addition, she has an attitude about music today that matches the female empowered persona portrayed in her tracks.

“In the music industry today… It takes at least twice the work for a woman to accomplish half as much as a man. I really want to break that ceiling, and someone who has inspired me with lyrics, statements and actions has been Lady Gaga. What really disturbs me is Classic Rock and Southern Rock does not have somebody like that,” says the young musician. “I want to be the new millennium woman, the Lady Gaga of southern music, telling women and all creative spirits that it [the music industry] doesn’t have to be gender divided anymore.”

I agree with Kim on the subject of women in the industry. Daylle Deanna Schwartz, New York City’s first white female rapper will tell you that in the ‘80’s, women used their bodies to get ahead in the industry. Look back at the history of the American industry in your own personal time, and you will see women were only given two masks to wear – the emotional exhibitionist who was a sex object, or the unsentimental, bitter and passive-aggressive woman. Both of these facades are one-dimensional and superficial and sadly, female musicians are still expected to put on these faces today.

On a brighter note, there are female artists in country music that did not play either of these roles during the pinnacle of their careers, and led and continue to lead by a more positive example. One woman that comes to mind is Dolly Parton. I asked Kim about her thoughts on this, and while she agrees Ms. Parton continues to positively speak up for women’s and gay rights, her prominent years were the 60’s, 70’s and 80’s. The Southern Rock scene needs a fresh young face, and Kim hopes to be one of those new faces.

Yes, Kim is a very ambitious young woman. So I listen to her story of how she got into the industry, the positive experiences she had along the way, and what she wishes to make of them. In doing so, I begin to understand what fuels this passionate musician’s ambition, and why she chooses Southern and Classic Rock to tell her stories to the public. I am happy to welcome Kim to Music Historian.

Kim credits her mother and father for their support in her long road to becoming a singer songwriter.

“I always wanted to sing and my Mom worked in pubic relations and events for some really amazing people in the 90’s like singer songwriter Charlie Daniels, Southern Rock bands [like] Molly Hatchet and the Marshall Tucker band.

“I developed a special bond with Doug Gray, the guitarist from the Marshall Tucker band, and when I was about 9 years old, I was talking to him during one event weekend and he said I should go out on stage with Charlie Daniels at the end of the show and sing with him during a jam. Doug and Charlie jammed together after the show.

“I believe we sang “Amazing Grace” and Doug kicked my ass out on stage. Singing with Charlie and Doug is when I got the [rock ‘n’ roll] bug. I went to my Dad and told him I wanted to sing professionally, and I think my Mom had already realized that. My parents said “you’re going to do it right,” so they put me in classical and vocal training and the opera program in Sarasota, Florida for about a decade. This started when I was turning 9, and I did this all through high school.”

During this time, Kim also picked up the guitar. Her motivation was to accompany herself in her singing and songwriting.

“My parents got me a guitar and my father told me I wasn’t allowed to play electric guitar until I made my fingers bleed on my acoustic guitar, which he was right about,” says Kim. “I don’t know where I would be without a guitar in writing. I can’t do without it in the writing process, I want to have control over the writing process.”

Throughout high school, Kim also participated in additional musical activities such as playing in punk bands, party bands, blues and classic rock bands. Whether it was opera or songwriting, she was always singing.

Kim’s strong classical education helped her get into the Berklee College of Music in Boston for vocal performance. However, her desire to play honky tonk and rock ‘n’ roll made it difficult for the young artist blend into the Boston music scene.

“I think, at the turn of the millennium, everybody just got so crazy with music technology and music school, and students at Berklee had all of this new equipment available to them, they were held up in their dorm rooms tracking themselves and playing shows for other students,” expresses Kim. “It was also that weird blog [phase] that happened at the same time… and for the first 10 years of the new millennium, I think everyone was a little too innovative and saturated with music technology to get out to a show and plug their amplifiers into a wall and play. I wanted to play, not sit in a classroom anymore.”

So, the artist moved to Nashville to perform, record and tour. “Nashville is very centralized,” she explains. “I have been able to hit the entire deep south, including Texas, and then come back up to New England, and Chicago. I very briefly studied at Belmont, but that was more of an afterthought because my schedule for years has not been conducive to a classroom environment.”

Thankfully, Berklee College reached out to Kim while she was pursuing her career and Nashville, and she is now completing her music degree online. She hopes to obtain her degree from Berklee soon. Although Kim has been in and out of school, she never stopped educating herself in the history of American genres. Through self-education, she learned to appreciate some of her songwriting heroes and favorite musical styles. She explains:

“It really comes down to the fact that I am obsessed with Music History. Before I was in college, I sought to learn the history of the genres in contemporary music myself. I would just dive into everything from the 1860’s civil war tunes to jazz and the blues.

“What really lit my fire was the father and son team of John and Alan Lomax, who went to the Appalachians and the deep southern terrains and did their field recordings. When I learned about that, and the Great Depression, and where everything after that comes from, it helped me understand the songs of Jack White and heroes of mine who, have also gone back and learned the same things. I felt like I was going back and strutting the same path, learning the same things in order to create my own contributions.

“My potpourri of different stylistic attempts comes from a deep love of other genres of music and re-creation of southern and grace, and different types of music. This lets me stretch my muscles in songwriting and vocal performance. That’s sort of my life’s work there.”

 Pick up Kim’s self-titled debut and you will hear how she flexes her songwriting muscles. “Black Magic Boy,” a Southern Rock song with a grimy tin-like effect in the guitar will leave you feeling like you transcended into a barroom in a southern part of the U.S., perhaps New Orleans. Listen to “Devil Makes Three” and the pitch bending produced by the steel-peddle and the major melody within the tune makes one feel like they are driving through a small sunny town in the Midwest. Then, there is the blues-infused track “Gentleman” which includes soulful vocals that back-up Kim in the chorus.

Aside from her style of writing, Kim continues to display her love for music history in the Vinyl production of her debut record. I asked what attracted her to recording with analog equipment, as opposed to staying strictly with digital.

“It is a science that non-compressed music and sounds, which have not been diluted digitally, are much warmer, more open and richer,” explains Kim. “I recorded the album at a converted church, and I pressed the record at United.

“I am passionate about vinyl records, no matter who represents me or what management I am under. We want that instant gratification and that quick satisfaction of logging onto Spotify and hearing something from somebody’s iPhone or their party. When you are at a live show though, you are listening to real live music, and you want to take home a vinyl of that record so that you can listen to it and understand the artist’s brain, and why they felt it was necessary to create that thing.

“It’s plain and simple, but that is the best method of listening to what a musician has to convey and say.

“I do think analog and digital can go hand-in-hand, they both can be complementary.”

I remember reading articles in Brooklyn-based publications, like Brooklyn Magazine and I heard that the vinyl is making a comeback in some music communities. I thought back to when I had researched Kim Logan before I contacted her for an interview. Specifically, I recall feeling surprised when I learned about some of the other artists on the Artists on the Verge roster for the New Music Seminar, who also make Southern Rock music – The Blackfoot Gypsies, Jamestown Revival, and Carolina Story. I thought to myself ‘something is happening within the Southern and Classic Rock community somewhere in this country that is getting industry players here in New York City excited.’ In regards to Kim, I wanted to know what made her passionate about classic rock, and the other form of classical music that attracts her, opera.

“It really is the timelessness in a piece of artwork. Each movement, whether it was classical, romantic or experimental in opera, were associated with distinct feelings. It was both a genre and community.

“I feel that way about classic rock and I feel that way about the blues, classic country, and the new wave of classic country that is currently happening. You have a community of artists who are trying to achieve a certain standard while enjoying art as much as possible.”

As I got to know more about Kim, talking with her in the very crowded and active second floor lobby of the New Yorker Hotel, I wondered about her personal observations of the music communities throughout the U.S. What did she think about the scenes throughout the different places she has lived?

“The scenes are going to be completely different in almost every city in America. Everything springs from the ground up. There are very different kinds of people in New Orleans, Atlanta, Nashville and Chicago.

“I think Nashville and Brooklyn have become my favorites. I spent a lot of time in the Boston and Brooklyn scenes trying to connect with some of the bands, who came from indie pop music. There were many blog-driven Pitchfork bands with whom I did not connect. I was happy to take my act to Nashville where I not only played with large bands, but also became a fan of the bands.

“As Americana has taken hold, and as retro recordings make a comeback, like vinyl, it feels good for musicians playing rock ‘n’ roll, country and soul.”

While this young artist works towards greater goals like being a positive role model in the Southern and Classic Rock genres; like every savvy business person, she is always setting little goals along the way. Kim self-produced her debut. At this time, she gets ready to make a second record with producer, Dave Cobb.

“I am excited to work with this guy because I think it will provide the perfect combination for what I want to hear on my record, and what I want everyone else to hear. I am returning to the studio in the late summer and I am aiming for a Fall release.

“I think I am going to tour on it, and start the whole cycle over again. I think I have beaten this last record almost to death, and it’s time to get some new material.”

At the moment, Kim is currently unsigned. If any producers or A&R agents in New York City plan to attend CMJ in October, I encourage you to check out one of Kim’s shows.  If you are an industry player in Nashville, watch out. She is playing several shows throughout the summer.

Between her move to Nashville in 2010, and the release of her debut in 2013, and her appearance at the New Music Seminar, so much has changed for Kim, and the development of her career continues.

“I have put out records in March of 2013 after I had gone down to the SXSW Festival and I did not have merchandise nor any recordings, and I scrambled to release this record so that I could take it on the road. Then, I got an article in the Nashville-based Native Magazine, and it all kind of tail-balled in the last year and a half.

“I’ve been on the road, and I have been working my ass off, and the iron happens to be hot. Absolutely everything has changed, and I’ve checked a lot off my list since then. I’m really grateful, and I want to go to as many places as possible and bring the best records there. It will only get busier.”

Music history lit this young artist’s fire. Plugging-in to a performance space with other musicians and making something happen helps feed that passion. Whether listeners are attracted to her country songs, driving rock ‘n’ roll riffs, or blues-infused choruses, they are bound to hear the voice of a woman who delivers stories about her real life experiences through clever lyrics, thoughtfully written compositions, and warmly recorded sounds.

She might be a combination of a music nerd and a young woman who reveres the Southern and Classic Rock legends who were big in the 60’s through the 80’s, and in the early millennium. Regardless, Kim Logan has found her voice within this genre, and she flexes it freely. She comes to the city as much as possible to bring her sound to Southern and Classic Rock lovers here in New York City, Nashville and just about any city she can reach. Kim says, “I want to get people excited about it, and I want people to put money, time and energy into real music, with real instruments.”

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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.