Michael 8 of Septembryo Shares About His Latest Album Nightmares & His Branding Strategy

Michael 8 of Septembryo Shares About His Latest Album Nightmares & His Branding Strategy

Do we know everything there is to know about our world, or are there more mysteries to uncover?

Septembryo‘s latest album, Nightmares, explores the theme of the law of attraction. From the dark side.

In this The Music Entrepreneur HQ exclusive, Michael 8 shares about his now released album, comic book series, what’s to come in 2020 and more.

1. Who are you and what do you do?

My name is Michael 8 and I am the singer/songwriter/producer behind Septembryo’s music and writer/co-creator of the Septembryo comic.

2. Branding certainly seems to be one of your strong suits. How did you build your brand?

It took years for me to discover and refine my brand. In the beginning it was really hard to answer the question, “What makes your music different from everyone else’s?” Of course the answer to that, for everyone, I feel is, whatever makes you different from every other person. So, eventually I discovered that all the key elements of my brand were just various things that I myself, personally loved.

However, even once I knew what my branding was, it was another battle entirely on just how to communicate that to others in a clean, clear and consistent way. From that point on, my branding became more focused through trial and error on social media platforms. Having a place to post daily and experiment with the different ways I could express myself to my fans was essential.

In my case, Instagram was the platform that just seemed to click. However, I would encourage others to find what works for them and focus on that the most. You can have a presence on other platforms but definitely have one that feels like home for you and your followers.

You can have a presence on many platforms but be sure to have one that feels like home for you and your followers. Click To Tweet

3. Tell us about your key branding elements. What are they, and how did they come to be?

Septembryo is the combination of many things that, on their own, are hardly original. But when they are combined is what makes it uniquely and instantly recognizable as the Septembryo brand. The first being:

A) The colors. Mainly teals, blues and purples. Followers of my Instagram will notice there’s been a slight shift in how these colors are being used with the release of my new album Nightmares and will notice another shift when the follow up Daydreams comes out in 2020. But regardless, the core elements of teals, blues and purples are always there.

B) The sound. Septembryo’s sound has always played with a mix of electronic pop elements blended with punk and rock elements. What’s interesting to note is, with the newest album, the focus in the songwriting has moved from guitar to piano. Even still, with all the changes, the sound is still very much Septembryo, in that it plays with the dynamics of electronic pop and rock stylings.

C) New age/Supernatural themes. The message and metaphors behind a lot of Septembryo’s songs are a key part of what defines Septembryo. I’m very much inspired by mysterious things like ghosts and UFO’s. What I get out of those subjects is, to me, a clear message saying that we don’t fully understand the world around us. Which then suggests we don’t fully understand ourselves.

And what I love most about that concept is, if there is more to us than we know, it means we are capable of so much more than we know. And that is a very inspiring thought and it is essentially the root of everything I try to communicate to my listeners throughout my music and my comic. You are more powerful than you ever thought possible.

D) The comic. Once all the other branding elements were in place, the comic seemed to naturally birth itself in those conditions. Bringing into hyper focus all the the previous elements while creating a new one of its own.

The introduction of the comic medium into the Septembryo brand has opened doors to markets outside of music that I never would have thought to explore otherwise. There is a saying that has always stuck with me: “The hardest place to sell a book is in a bookstore”. With the music/comic combo I always stand out wherever I go.

The hardest place to sell a book is in a bookstore. Click To Tweet

With people at rock shows getting excited about the comic and people at comic conventions getting excited about the music, they really help the other stand out.

4. One of the entrepreneurial aspects of what you do is comic books. Why did you decide to create a comic book series around your brand?

The creation of the comic was a very organic decision and at first was not at all connected to Septembryo’s music. I had already performed at the Stampede Corral for the comic expo, even before the book was being thought of. The subject matter of Septembryo’s music was very SciFi/paranormal in the way that so many comics and films were, so I knew I had a potential audience in that setting.

Later while reading a series of books specifically about Astral projection and out of body experiences I began creating this entire universe in my head, even though at the time I had no means of creating a comic book. It was just so much fun I kept on developing it.

Then coincidentally Roberto Duque (Who is now the co-creator/artist behind the Septembryo comic book) approached me to create a Septembryo comic. He pitched an idea for a comedic space opera involving an intergalactic battle of the bands. I loved the idea and agreed to do it.

Afterward, I casually mentioned the coincidence that I had recently been thinking of an idea for a book. He became very curious and asked about the idea. When I told him, he got very excited and said, “Forget what I just said, we’re doing that idea” and just like that my idea was turned into the Septembryo comic. And it has since become a huge part of what people know Septembryo for.

5. Tell us about your forthcoming album. What can we expect?

Nightmares is the first installment of a 2-part concept album about manifesting our future. While part two (Daydreams) will deal with the positive aspects commonly related to law of attraction, Nightmares reflects on elements not often acknowledged, including depression, loss, suicide, sleep paralysis, shadow people and death.

Septembryo - Nightmares

Ambient synths and vibey beats provide the sonic backdrop to epic choruses that cry into the emptiness of large reverbs. Sonically and lyrically, Nightmares explores the rock bottom of human emotion while revealing our hidden ability to make our worst fears come true.

6. Is there anything else I should have asked?

There is also a documentary in the works about the making of Nightmares and Daydreams. The concept of using law of attraction to create an album about law of attraction. So far it’s been a very wild ride and I’m excited to see how the Daydreams process compares to Nightmares.

I think when this film is done and released, it will add yet another dimension to the Septembryo brand, much like the comic has. I’m very excited to see what kind of ripples it makes within the various communities I’m involved in.

Final Thoughts

Cool concept! I can’t wait to listen to Nightmares as well as the forthcoming Daydreams.

Did you enjoy this interview? Then be sure to say “thanks” to Michael 8 on Twitter: @Septembryo

And, if you have any thoughts or questions, be sure to leave them in the comments below.

142 – How to Succeed as a Songwriter – with Award-Winning Singer-Songwriter & Producer Troy Kokol

142 – How to Succeed as a Songwriter – with Award-Winning Singer-Songwriter & Producer Troy Kokol

Sometimes, it might seem like building a music career is all about the hustle. But sometimes, you just need to let the opportunities come to you.

In this episode of The New Music Industry Podcast, I interview award-winning Canadian singer-songwriter Troy Kokol, who shares his journey as a songwriter and how he’s been able to make songwriting his full-time gig.

Podcast Highlights:

  • 00:34 – Who is Troy Kokol?
  • 03:00 – Revenue streams you can create with songwriting
  • 05:10 – How do you get into writing songs for others?
  • 07:36 – When opportunities come to you (and not the other way around)
  • 10:16 – Do you have a team helping you?
  • 11:51 – How to write hits and become a professional songwriter
  • 17:52 – Being prolific vs. being perfectionist
  • 19:58 – Is writer’s block real?
  • 22:56 – Getting passed analysis paralysis and staying true to yourself
  • 24:07 – What are your thoughts on the Calgary music scene?
  • 28:05 – Grants and funding for musicians
  • 29:31 – What is Calgary Songsmiths?
  • 33:21 – Concluding thoughts

Transcription:

D.A.: Today we’re chatting with award-winning Candian singer, songwriter, and producer, Troy Kokol. How are you today Troy?

Troy: Doing good. Doing very good, David.

D.A.: Awesome. Thanks for joining me. I was trying to learn a little bit about you for this conversation but you’re a bit of a mystery online, so I would love for you to take a moment to share about your background, who you are, and what you’re up to.

Troy: Yeah. So, I started late in the business. I didn’t pay my dues like everybody else. I had a job and was just going about my life, and we had a fortunate break with songwriting.

It’s a super long story but ultimately, what ended up happening was a song that we wrote was cut by a Canadian artist with a brand-new label, brand new artist, and it blew up. It did as good as a song could have in that type of situation.

And so, all of a sudden, we were thrust from doing a day job thing to like, “Oh, okay. I guess we’re songwriting now.” And so, that was about 10 years ago. A little over 10 years ago.

And so, from there we just have evolved. It’s evolved into songwriting. I started producing and then of course the more you start singing, the more you start doing your own stuff.

Right now, what we do business wise is pretty broad. I’m an independent artist as well. I mix, and master, and produce, and record all my stuff myself but I also produce, mix, and master for other artists. And most of the stuff that we do and most of the things that we have had success with are in the country pop genre but I do work in folk as well with folk artists.

It all feels new even though it’s been 10 years. Like I say, I never suffered sleeping in the van down by the river. Nothing like that. I kind of have the best of both worlds. And so, yeah, I’m really enjoying it.

And we make our home here in Calgary and we decided to do that a long time ago. We could have moved south and that was an option but we decided that Calgary was going to be the place where we’re going to set our roots and just do what we could from our home. And so, we’ve been really glad to do that.

D.A.: That’s awesome. It strikes me that there are a lot of opportunities in songwriting just from having talked to a few other people out there who are doing the same thing.

Correct me if I’m wrong, but sort of what I’m seeing is it actually offers quite a few different revenue streams, right? Because you could be writing songs for others and collecting royalties on that, but you could also be making your own music. And like you said, you’re producing other people’s music too.

So, creating more opportunities for yourself really allows you to draw from a bit of a bigger pool, right?

Troy:  That’s right. I think the other part of it is that when we got in the business, it was a different world. And now, especially because of the digital era, a lot of people I feel think that digital era has crushed the music business and it certainly has for the large companies but I feel like the smaller independent artists, the independent labels, and you know even someone like myself, I mean because we can now… I mean I can do all of the things I need to do to make a record sound, you know, half decently pro and put it out.

And so, I think as a songwriter, yeah, you’re absolutely right, David. If you can write your own music and you can release that music, there are five major revenue streams you can draw on as a songwriter. And so, you can take advantage of that because you own the master, because you’re paid for the recording, because you are the singer, because you are the songwriter.

Yeah, there’s a whole bunch of, you know. You’re collecting pennies from all over the place but there’s the more exposure and of course the better the songs are.

I always tell artists it’s so important to focus on the quality of your songs. Until that’s ready, it’s almost not really worth it to go busting down doors and making CDs quite yet. Performing, absolutely. But on the songwriting side of it, I think you just need to give yourself the opportunity to grow and to grow into something that other people can get into.

It's so important to focus on the quality of your songs. Until that's ready, it's almost not worth it to go busting down doors and making CDs. Click To Tweet

D.A.: So, how do you get into writing songs for others? Is that a matter of like networking and getting to know people? Is it a matter of using certain tools online? Is it a combination thereof?

Troy: Oh yeah, it’s definitely a combination, but I would say most importantly for all of it is honing your craft and being good. And being okay with not being good for a while, and having that patience and persistence.

I can honestly say and I tell people this all the time. The opportunities that have put money in my pocket have been almost exclusively when my phone rings. It’s not when I’m trying to get a publishing deal or I’m trying to get a co-write with some big artist or I’m trying to you know, whatever it is, fulfill some ego thing that I’ve got.

We’re all artists and we all have that sort of… It’s really hard to suppress that want to just like, “I should get a record deal, or I should do this, or I should song write for this person or that person.”

But what I’ve found is that every time I tried to do that and take control of it, it’s always failed but when I’ve had success is when I’ve just decided, “You know what? I’m going to do what I have control over and just try to write better songs.”

Lo and behold, the more I did that and the more I focused on my own skills. You know what? The phone rings because you’re actually… I think part of it is that you’re proving yourself. You’re able to prove to other people and you’re not coming out of it with an attitude of desperation.

People are coming to you because it’s like, “Wow! Did you hear that song that David just sang? That’s amazing. I’m going to go talk to that guy.” Because you spent the time to work on it.

So, all of my opportunities have come that way. I never called… Like I write children songs for international educational company that’s headquartered in Japan. I didn’t call them and I didn’t get that gig because I thought that’s what I should do. I always wanted to write children songs but the funny thing was that it was through people that I knew.

And, I feel like part of that work had to do with me just focusing on the things I had control over which was writing songs, you know playing out, releasing songs, and you know definitely meeting people. Networking is so important.

D.A.: Yeah. I love that because there aren’t too many people that are taking that sort of approach or attitude to things, like just working on your craft allows you to get better gigs, right?

I have something similar going on in the sense that I’ve booked so few of my own gigs probably in the last five to 10 years. They get booked because of band leaders, because of acquaintances, or friends, or people I know, or other musicians to where when I do go and try to book my own gigs, it often fails and I don’t get the gig.

Troy: Yeah. I always say when your phone rings that’s the opportunity you’re ready for. My friends are sick of hearing this but I call the pie shop. You know, you have this amazing recipe because your grandma gave it to you, and you know you can make these amazing pies, and you take this recipe and you go out the street and you try to get people to buy this recipe from you and we’re like “Man, are you crazy?” Like, “Go away.” Like, “I don’t want your stupid recipe.”

When your phone rings that's the opportunity you're ready for. Click To Tweet

But instead, if you take control over what you’re able to do and maybe you rent a little corner place, and you get a little oven, and you start baking stuff. What happens? The smell goes out to the street. People are like, “Oh my God. What is that?” And you know you focus on. And maybe it starts small but then you start… you’re always improving your apple pie. The more that you improve it, after awhile people start talking about it. It’s like, “Oh my God, have you ever been to that place? The pie is unbelievable.”

And so, after awhile, your work, the work that you’re trying to… the things you’re trying to make happen just happen anyway.

I think we as artists focus a lot, especially in the beginning, we focus a lot on outcomes which to me outcomes are like you know getting an award, getting a gig, getting an agent, getting a manager.

And to me, what I have found in my experience with people that I know that have been signed with major labels even the little bit of success that we’ve had. I feel all of those things, those outcomes that people are wanting often are just byproducts of doing what you have control over, which is gigging when you can, writing or making your songs as best as you can, and networking, and doing the things you have control over – your website, your photos.

Those outcomes that people are wanting are just byproducts of doing what you have control over. Click To Tweet

And then everything else once the songs are there you don’t really have to do a lot. You really just need to be visible and to be active in the industry, but that’s been my experience.

D.A.: I love that. And, you used the term “we” earlier, so I’m wondering what sort of help and support do you have, or do you have a bit of a team helping you out in making this happen?

Troy: I don’t. It’s funny because even from day one, so we had a fairly substantial success with this first song and I thought, you know, “Man.” Like, “Everybody’s going to want a chunk of this money.” And so, I thought, “Well, that could be a good thing.” But the funny thing was that we’ve always operated independently.

I’ve spent a lot of time asking questions, and learning about the business, and also studying what… for me, what was most important is studying what works and what doesn’t work. That comes not only with people with money but also people with lots of talent because a lot of people think just because someone’s talented that they’ve got it all figured out. That’s not always true. As a matter of fact, it’s almost never true.

What's most important is studying what works and what doesn't work. Click To Tweet

I would say for us, we rely on… I rely on watching and learning from other people to really help me move forward. I’ve done a lot of things to constantly learn how to mix, learn how to master stuff, learn how to write songs better.

Part of that is just learning from my peers and listening to new artists and hearing what new business people are doing to monetize their music. All that good stuff.

D.A.: So, what’s interesting about that, you know, I’ve been to enough workshops and certainly have read enough articles to know that there are certain like nuances to writing hits, so to speak, or writing songs that are more largely accepted and mass-consumed.

So, what tips do you have for someone that’s interested in becoming a professional songwriter?

Troy: You know if you want to… If someone tells me, “I want to be a professional songwriter.” So my assumption is that you want your music to be consumed by a large, like the middle 60%. Because I think often people really just want to do cool stuff and they want to just write what they want to write but they wanted to be successful and those two things don’t always mix together.

Sometimes what you do naturally just pops. And, it works and everybody loves it. But not often.

I think the one thing that I would say if you wanted to be like a professional songwriter and you want to have the ability to make money from songwriting, I think the most important thing is to spend time listening to great songwriters, and taking all the… I can honestly say I haven’t read a lot of books or taken a lot of courses on songwriting but I have for sure spent a lot of time listening to great songwriters and listening to how does… what do I love about this song, and why is it working for me.

I would say the one piece of advice I got was from a fellow named Ralph Murphy. He used to be the VP of International Relations at ASCAP, which is the equivalent of SOCAN in the US.

D.A.: Yeah.

Troy: When I first met with Ralph, he told me it’s like, “Think about…” He said, “Don’t”… He basically said, “Don’t think like a songwriter. Think like you’re a listener.”

Don't think like a songwriter. Think like you're a listener. Click To Tweet

Like his whole thing was, if you’re trying to get on radio people really… As in the radio industry who sells advertising and you’re trying to get… all that they care about is that when your song’s playing, that single mom driving to work at 7:30 in the morning in her crappy car to her crappy job that she hates, doesn’t turn the radio off.

So, you know, a big chunk of what I think needs to happen in that is just keeping that in mind. It doesn’t mean you’re writing every song for that but it’s always sort of keeping… trying to understand that you’re trying to reach that middle 60%.

The truth is that sometimes in order to get to that place, you just really need to be honest and you need to be in a way that is in a creative way that is accessing your most… your deepest secrets or your most vulnerable place.

But I think at the end of the day you really need to spend a bit of time listening to the radio. I think also understanding the craft itself and what kind of music is acceptable because if you don’t really get that, if you don’t spend time listening to radio and if you don’t spend time sort of studying the people that are having success, I think it’s sort of a crapshoot, and you’re guessing. Yeah.

D.A.: You know that’s a great tip. Whenever I perform these days, and it definitely wasn’t always this way, my friends or other artists mention, “Wow, your songs are always so pop.” I think it’s gotten to the point where that comes like somewhat naturally to me, but I was in pursuit of that for a long time because I knew I was writing these songs that didn’t have as strong of a melody as I wanted because I was listening to some of my favorite artists and really what I noticed was, “Wow! I really love that melody. I want to write melodies like that.”

And when I got in pursuit of that and was endlessly listening and my roommates were like, “What are you listening for?” And I said, “I’m just listening to get a sense of how to write melodies like that.”

Troy: Yeah. Yeah. And I think spending a little time with… a guy listen… I always listen to new stuff and relatively new music. Anything that to me is different, you know like when twenty one pilots came out with “Stressed Out”, or when Ed Sheeran came up with “The A Team”.

For me it was just, “Wow! Really cool.” Like I really love the way he illiterates in this part, or the way that this person just kind of describes something.

And so taking that into consideration as to like, “Okay. Well, how can I lead that into my old stuff?” And again, I think the most important thing is doing that in a way, and you know even in a commercial songwriting way, that I think the trick of it all is to do all of that into… and to create fearlessly. And to be okay with like, “You know what? I’m probably going to miss nine times out of 10. And that’s okay. But I need to give myself a chance to turn and turn the tap on, so to speak, and just let it flow out of me until it’s feeling right.”

I’d like to say to people that it’s sort of like turning on the shower. You turn on the shower, at first you turn it on it’s too cold, and you turn it the other way and then “Oh my Gosh, it’s too hot.” Then you look around the thing for quite a while. It’s like, “Okay. This is just right.”

And even then, you might tweak it a little bit but I think it’s kind of the same thing with creativity. You’ve got to give yourself an opportunity to just say stuff and be honest and find that ability to see your truth.

And then, once you kind of get to that place where you can easily fearlessly come out with that then I think that’s when you have something that is going to… people will relate to. And that’s going to feel honest and real.

D.A.: So, here’s a bit of controversy. Being prolific versus being perfectionist. What are your thoughts?

Troy: I used to cartoon professionally, a long time ago when I was in college. Charles Schulz was like, “There’s no such thing as…” And Charles Schulz was a guy who did like Snoopy and Peanuts and all that stuff. His thing was, you know there’s no such thing as writer’s block. It’s just different forms of fear.

There's no such thing as writer's block. It's just different forms of fear. Click To Tweet

To me, I think… I always tell people. When you’re creating, there’s two elements in the room. There’s a child and there’s an adult. The child will come out and come up with like fun ideas, and be honest, and cry, and laugh, and just be in the moment. And the adult will sort of like say, “Well, what about that? What about this?” I think when we get “writer’s block” is when both of those, you know the child and the adult are in the room at the same time. And you’re trying to come up with ideas but at the time you got an adult saying, “No. No. That song’s too long” or “You can’t say that” or whatever.

And so, I always tell people to differentiate those two things. Compartmentalize your creativity. Allow your child to be joyful and don’t try to cage in what you’re doing with things like what genre you’re singing or what the content is. Forget about that.

The greatest songwriters there ever were, if you listen to their work, it’s vast and it’s weird. And like if you listen to Beck, or if you listen to Tom Waits, or Bob Dylan, it’s all over the place. And it’s because those guys were experts at just creating freely.

And then they probably went and let their parent or the adults in the room after they’re like, “Hmm. This could be too long. We need to change this. We need to move this around.” But I would say in terms of like being prolific versus you know editing a lot, I would say that’s my take on it.

D.A.: I love that. And I really enjoying what you said about there is no writer’s block because in the last few years, I have done a lot of blogging, I have done a lot of ghostwriting. This year, I’m working towards publishing 10 to12 books. And my second book is on its way.

I really believe that there is such thing as burnout but there is no such thing as writer’s block.

Troy: Yeah. And I think though, you know, even for yourself, if you were writing your books but you were constantly, “Oh, is this going to be relevant? Is this going to be…?” You could literally… Paralysis by analysis, right?

And, you could honestly stop yourself from creating something. And the truth is that you write lots of stuff. You’re going to make mistakes. You’re going to fall short, and you’re going to maybe say things that weren’t quite spelled out correctly or could have been stronger but the fact is that just the more you do it, the more you’re going to look back and be like, “Oh, I could have done that better.” And those are all learning opportunities, right?

So it’s just really sharpening your blade so the next time you go to battle you’re going to be more prepared for it, right?

D.A.: Yeah. Actually, you’re really in my brain right now because when I launched The Essential Guide to Music Entrepreneurship last year, I thought I was kind of taking a big risk by putting such a short book out there. It’s probably an hour and a half read at most.

And the response has been tremendous. I haven’t had a bad review yet. It’s all been five stars, and I’m like, “Wow! Well, that’s worth doing so I’m going to launch more of these handbooks or mini books.” They will be a little longer but I’m going to try to put more of these out there.

And like you said, this is a philosophy I’ve kind of adopted for my business in general, let small bad things happen.

I think it was originally in Tim Ferris’s The 4-Hour Workweek but I thought, “Yeah. So true. I’m going to let small bad things happen because they will. There’s going to be some mistakes in these books. I’m going to miss the carriage return, or I’m going to use the wrong word, I’m going to misspell a word.” It’s just going to happen when you’re producing this volume of work.

Troy: Yeah. And I think especially when you… We mostly get hesitant when we think about the content and the validity of what we’re doing. Like, is it any good? Will anyone care? And the fact is that I think that you have to approach it like, “I don’t care if anyone cares.”

You always hear about those great artists and songwriters. A lot of times they don’t care if anyone listens to it. I think it’s not a function of, “I’m a big deal or I don’t care what anyone thinks.” I just think it really is more of a function of, “I really want to do this. I love to do this. And so, I’m going to do it.”

I think generally, when you’re coming from a creative place that is honest and joyful, people groove with it and they really think… You’ll find an audience of some kind anyways.

D.A.: I think that’s the other piece is getting past the analysis paralysis. You could so easily kind of stop and evaluate how each book went, and how it was received, and what people thought of it.

Troy: True.

D.A.: We sort of get into almost like people pleasing, right, which can be very unhealthy.

Troy: Yeah. And you see that happen with songwriters and artists. You will see an artist come up with this amazing record that they did in some crappy studio somewhere, and it was like super raw and super genuine.

And then the next one was like you know they get signed to some huge multi international label. And it’s nothing like it was before.

To me when I think about that it’s like it really is just a really… It’s fear. It’s fear from the label. It’s fear from the artists. Like, “Oh damn, we’ve got an audience now.”

And so, I think staying genuine and always creating in a way that is joyful. Yeah, the absence of fear I think is definitely the way to go.

Stay genuine and create in a way that is joyful. Click To Tweet

D.A.: I love that. Yeah, you’re definitely bringing new or slightly different perspective to the podcast than usual. And, I love that too.

So, to change the flow of the conversation slightly, this is funny. Something I used to ask at my old podcast so it brings me back a bit but we’re both living in Calgary so I thought I would ask you. What are your thoughts on the Calgary music scene?

Troy: Honestly, when I first started getting into music, it seemed like there was nothing going on. Of course, there was. There’s a large folk scene. Country music had some prominence in the city, but I feel like in the last five years we’ve kind of turned the corner.

There are… We have a bunch of really great award-winning studios. We’ve got lots of amazing producers. We’ve got some artists that are coming out of the city that are getting signed to labels and being able to make a living doing what they’re doing.

I feel like there’s more infrastructure. Maybe not for live playing as much as we would like but still it’s… I feel like we’ve turned a corner.

Calgary is very corporate. We have lots of oil and gas here. We have lots of headquarters, and so one could tend to think that there is no art scene here. Especially after going to the YYC Music Awards this year and seeing all of the talent. Like I was blown away.

We work professionally in the country music world and so… but going to the award show here in Calgary, I was honestly like kind of embarrassed at how little I knew about all of the amazing artists that are in this town. I feel like the art scene in Calgary right now is as good as it’s ever been quite honestly.

D.A.: Yeah. I think I had a friend that said 10 years ago or maybe a little bit more, Calgary is going to have its turn. Maybe we’ll become like its own Seattle or its own Vancouver in some sense. Who knows? I mean I don’t think we’re there yet but like you say, as far as great talent goes, there is a lot to be found here.

Troy: Yeah. We’ve got, you know, we have some of the best producers in the world, some of the best studios in the country. And we’ve got some pretty strong songwriters. We’ve got some amazing artists. And some of the greatest like the Ironwood is one of the most sought after live venues for folk and Americana artists

You know, in North America they come from all over the place. We’re really lucky. Now with the National Music Center and the whole King Eddy venue being set up. I just feel like it’s only going to get better. I’m really hopeful.

D.A.: Will Calgary continue to be your home for a time to come?

Troy: Yeah. We have family in Canada, of course, and so we… Like I said, we could have moved to the US a long time ago and that was an option but I just felt like, “Man, we have a radio system that supports Canadian content. We have grant systems for municipal, provincial, federal, that can support artists.”

We just decided that, “Let’s just do it here. Let’s take it slower.” Yeah, maybe we’re not going to be rubbing shoulders with Jay-Z but at least we’re going to be here and at least we’re going to be nurturing a community here in Calgary.

And so, that was… Whenever I say we, I’m talking about my business partner, my wife, and also songwriter Joni Delaurier. We run this business together, and so you know we just decided that let’s just do it here and let’s be okay with that because ultimately, we just wanted to nurture our own creativity and create a good community to work with. We’ve been able to do that so you know what more do you want really?

D.A.: I think the grant and funding piece is a big one because based on my research and experience, there isn’t a whole lot in the States compared to Canada.

Troy: Oh my gosh. So, every publisher or small label or independent artists that we know… we’ve been talking to artists that are signed to labels. I mean like when they hear about what we have up here, they’re like, “You can get $30,000 for a record? What? Like how? Like who pays for this?”

We have those systems in place but that’s why we have artists that are you know like we have the Drakes and the Celine Dions and the Shania Twains, and you know a friend of ours Tenille Townes as an artist from Grande Prairie. She just got signed to Columbia Records in Nashville, but all of her career was honed on the generosity of CanCon and the generosity of the Alberta Foundation for the Arts. They helped her learn, cut her teeth. And so, she wouldn’t be able to have done in the absence of that, without hundreds of thousands of dollars. And so, we’re really lucky. That’s why we decided to stay here.

D.A.: Super cool. And you mentioned community a little earlier. I know you’ve done quite a bit with Calgary Songsmiths over the years so I’d love for you to talk about that. What is it and what have you been up to?

Troy: Yeah, the Calgary Songsmiths. It started out as a small group that was associated to the Songwriters Association of Canada and it was like a regional sort of branch. It was started by Nancy Laberge. Everybody got busy. Nancy got busy. The group sort of dwindled down to about three people.

The cool friend of ours kept it going, thank goodness. After we had a little bit of success, I was kind of grappling about, “Man, I really wish we had a songwriting community in Calgary.”

And a little voice in my head was like, “Well then do something about it.” We went back to that group, and thankfully there was… I think there’s like three people there. And thankfully, Nicole had kept it together. We just injected some love into it. We started a Facebook group. We started to bring speakers in and just put a little bit of energy into it. It slowly, slowly built.

In the last couple years, we sort of amped it up and said, “Hey, what if we started bringing in some speakers from out of town?” And so, we brought in some Grammy award winning songwriters to do some workshops and just little things.

And now, right now, the Calgary Songsmiths, and we just found this out a few months ago, we’re the largest independent songwriter group in Canada. I would say all in North America. It’s arguable but where it’s grown to a point where it’s just so much fun. We have a really great turnout of amazing songwriters.

We’ve now seen some of the songwriters that we have been in the group where you know on the verge of getting a record deal or moving on to bigger and better things.

And so, it’s been so awesome. It’s my favorite day of the month. It happens on the third Tuesday of the month, at 7 PM at Waves Coffee House. And you can check it out. All the details are on the Calgary Songsmith’s webpage, which is really just the Facebook page. If you Google “Calgary Songsmiths”, all the info is there. There’s about five of us that sort of make it work.

D.A.: That’s great. I really love that. I’m all for providing more education as it were to musicians. There are so many oversights, at least from my perspective, in the traditional education and schooling system. It sort of applies to the generalities of life but not the specifics of life so often, if you want to pursue a career in arts or music and stuff like that, right?

Troy: For sure. We’ll have agents come out. We have promoters come out. We have radio people come out. We have vocal coaches. Just all different things.

And so, it’s not necessarily all focused on songwriting but more of like, if you’re a songwriter and if you want a demo or if you’re songwriter and you want to go perform.

I think it’s really cool because we have like some people that don’t… They’re just lyricists. We have other people that are performing all the time in our radio.

So some people have had lots of success and some people are just starting out. It’s a really broad spectrum of music and skill level so it’s just… it’s such a joyful event. I encourage anybody that wants to get into it or is into the songwriting thing to come out and check it out.

D.A.: Super cool. Well, thanks so much for your time and generosity, Troy. Is there anything else I should have asked?

Troy: No. You know I think it’s just a really great what you’re doing. I applaud you for injecting your energy into the Calgary scene so thank you for that. Hats off to you.

D.A.: Awesome. Thank you.

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7 Ways to Build a Long-Term, Bankable Music Career

7 Ways to Build a Long-Term, Bankable Music Career

Believe it or not, if you are a musician or a singer with a strong passion for music, getting and breaking into the music industry is not an easy task.

You will be competing with other artists looking for the same gigs, trying to make it in the same genre, vying for the attention of the same industry people and so on.

The process of getting a career in the music industry can be an overwhelming process. So, it would be wise to familiarize yourself with the industry and identify what you need to learn to achieve success.

It takes persistence, passion, and careful planning to build a fruitful music career. No successful musician is on the high peak of his or her career by accident.

So, today, if you’re looking to build a rewarding music career, let me share with you some practical tips you can apply to build a long-term career in the music industry.

Want to Grab Your Audience’s Attention? Make Great Music!

Musical trends come and go. You can still find artists making hair metal if you go looking for it, but because it’s not currently in the spotlight, new music in this genre is not bound for mainstream success.

And, competition is beyond fierce. There are plenty of hardworking, experienced and talented artists vying for the same opportunities you are.

So, making music your target audience will love is essential to your overall success. But how exactly do you know what kind of music to make?

A great way to go about this is by talking to your audience. You could send them an email prompting their response to a few questions. You could even survey them.

Even if you think you know your audience well, it’s always worth taking a deeper cut at it and narrowing in on what they want from you.

Think You’re Good Enough? Never Stop Improving!

To say that the most talented artists are the most successful would be to tell a bold-faced lie. But that doesn’t mean you can neglect practice, especially if you’re just getting started.

A pitchy vocalist, a choppy guitarist, an out-of-time drummer… Regardless of what the problem is, even a non-musical audience can tell the difference between someone who can play and someone who can’t.

So, never stop learning. Take advantage of the resources and tools available. If you’re a vocalist, check out the Bohemian Vocal Studio. If you’re a guitarist, have a look at Songsterr.

Be a lifelong learner. Take on that responsibility as your own.

Having Trouble Creating a Long-Term Connection? Build Your Brand!

Proper branding has never been more important for musicians.

If you want to build a long-term connection with your audience, you must have a recognizable and memorable brand.

You must consider elements like your logo, color and font choice, your website, your clothing and even how you conduct yourself around others.

Can’t Seem to Get in Front of Your Audience? Make Sure You’re Using the Right Channels

If you don’t promote your music, no one will know about it. So, use the right online and offline channels to expand your audience.

For instance, if you’re finding that building a following on Spotify is an uphill battle, it could be that listeners of your genre aren’t on Spotify. Figure out where they are and building a following there instead.

And, don’t forget to take advantage of social media. Facebook, Instagram, Twitter and YouTube are still among the best networks to prioritize as a musician.

Lack of Progress Got You Down? Build Your Resilience & Keep Going!

Building a profitable music career isn’t a walk in the park.

You will face rejection and criticism. And, you’ll even face the deadliest of all challenges, apathy.

So, be patient and determined. Read a book like The Essential Guide to Music Entrepreneurship to build a stronger mindset and eclipse the competition.

Looking for Better Opportunities? Start Making Better Connections!

It’s not just about what you know but who you know.

So, stop complaining about having to meet people. Meeting people is likely the only way you’ll build the type of career you’re interested in building.

The gigs you want, the sales goals you’re trying to reach, the opportunities you’re trying to land… these are all on the other side of a conversation you’re afraid to have.

So, start making more connections. Collaborate with others. Ask for their guidance. Add value to your relationships.

Frustrated? Don’t Complain!

While building your career, you’re going to encounter challenges. You’re going to get frustrated. You’re going to feel tired. This is entirely normal.

Complaining will do you more harm than good, especially if the people who could help you overhear your complaining. You could end up harming an opportunity.

So, keep a positive mindset. Maintain a consistent work ethic. Don’t give up.

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Summary

Becoming known in the music industry is challenging enough. Cultivating your staying power is even harder.

But remember that everyone starts somewhere (generally, nowhere). Even the most popular artists had to work their way up to the top.

So, if you’re serious about building a long-term, bankable career, then stay the course. Keep your passion alive, persevere, and face your challenges head on.

Some of the Most Important Music Tools Musicians Should Have

Some of the Most Important Music Tools Musicians Should Have

Every musician needs an assistant! And, these days, an assistant doesn’t just come in the form of a person. An assistant could be music creation software or a smart mixing desk.

So, what music tools are right for you?

Sibelius – Music Notation Software

Once you’ve decided what kind of computer is best for music production, you next need to think about the kind of software you’re going to use. That will depend on the type of music you are trying to create.

If you’re a classic composer, Sibelius is invaluable. First released in 1993 and named after Finnish composer Jean Sibelius, this software allows users fluent in reading music notation to construct an entire orchestral score and to then play it back and hear how it sounds.

You can also convert scores from one clef to another with the click of a button, meaning you can finally read those pesky harmony parts for the viola, which is one of the only instruments to use the alto clef.

Software that saves you time like this can mean you have more time to spend on improving your music career strategy for 2019. This is important because according to the Bureau of Labor Statistics, 36% of musicians and singers were self-employed.

The program also allows you to copy in recordings and see the physical score, allowing you to have a paper copy of improvisations that you have kicking around in the studio.

Other important features include plugins that allow you to hear your score played back by real instruments rather than the computer-generated sounds that come with Sibelius as standard. This is the musical equivalent of transcription software that converts spoken audio into printed text. Though of course, it may need a little bit of tweaking on the score after you’ve inputted it.

There is also a free version of the program called Sibelius First with more limited features that launched last year.

GarageBand

If you have an Mac or an iPad and you’ve not been using GarageBand, where have you been?

This is free entry-level software that is arguably aimed at junior musicians and composers and those who want to get a feel for how music is constructed.

However, many professional composers admit to using this software as well because it’s just so simple to use.

This digital audio workstation (DAW) allows the input of various audio tracks that can be edited and mixed together.

One of the things that makes it so easy to use is the preset MIDI keyboards and loops, as well as its virtual instruments set.

Not only does it accommodate virtual instruments, it also allows users to plug in their own instruments and even a microphone for voice recordings via USB port.

Those with the new MacBook Pro can also take advantage of the touch bar to mix or turn the top of the keyboard into a virtual piano or drumkit. You don’t even have to add or purchase extra devices via a USB slot.

GarageBand also comes with some free lessons for the guitar and piano if you need to brush up on your skills or you want to learn a new instrument.

Avid Pro Tools

Avid Pro Tools is industry standard music software that many in the music business say they can’t live without. It is used by scores of television and film composers as well as by professional recording artists.

The program is so vast in terms of the number of features it has that it cannot be overstated just how powerful it is. There are college courses devoted to learning how to use this program and countless books spanning hundreds of pages that can teach you how to utilize its secrets.

It has its own audio engine and allows you to include up to 128 tracks with the standard version and 256 with the ultimate version. It also comes with 512 instrument tracks and 512 MIDI tracks.

One of its most innovate features, for which you will require an additional subscription, is the ability to work in the cloud with 10 other users. Gone are the days where one person would have to find a way of transferring a huge file over to another user for them to work on it and send it back. Instead, musicians can now collaborate together seamlessly with ease.

There are also a host of plugins available. These enable you to customize Avid Pro Tools to your own personal needs.

There is also a free version of the software for those who want to see what all the fuss is about before taking the plunge and buying the standard or ultimate versions.

Steinberg Cubase

Not quite on the same level as Avid, Cubase is a medium level program. But that’s not to say it doesn’t pack a punch.

Unlike Pro Tools, there is no limit on the amount of audio and MIDI tracks you can use and it has a huge sound library which also trumps its competitor.

But unlike GarageBand and Pro Tools, Cubase is a bit techincal . But when you’ve figured out how to use it and how you can make it work for you, it works wonders.

Choosing What Music Tools Are Right For You

The key to deciding what music tools work for you is deciding what you want to achieve and then figuring out what program will help you achieve your goals.

As we always say your music matters. Don’t think about what other people might want, write the music that you enjoy and that matters to you and everything else will fall into place.

141 – Creating a Minimum Viable Product That Sells as a Musician or Music Entrepreneur in 2019

141 – Creating a Minimum Viable Product That Sells as a Musician or Music Entrepreneur in 2019

If your music isn’t going to sell, wouldn’t you like to know sooner rather than later? Is there a way you can rapidly release music at less risk to test the market?

In this episode of The New Music Industry Podcast, I share what a Minimum Viable Product is as well as how The Essential Guide to Creative Entrepreneurship came into being and who it’s for.

Podcast Highlights:

  • 00:34 – The Essential Guide to Creative Entrepreneurship
  • 00:50 – The Essential Guide to Music Entrepreneurship
  • 01:46 – Minimum viable product
  • 04:46 – An offer that converts
  • 05:05 – The inception and development of The Essential Guide to Creative Entrepreneurship book
  • 08:16 – What is The Essential Guide to Creative Entrepreneurship about?
  • 11:28 – Creating a series of Essential Guides

Transcription:

It’s The Essential Guide to Creative Entrepreneurship. I’ve been holding up this book a lot in videos lately. I don’t know what’s up with that. I do want to make you aware of the book so it’s good in that sense.

Anyway, what is this all about? Why would you want it? Who cares?

Last year I came out with The Essential Guide to Music Entrepreneurship, and that sold very well. I actually got a really great response for that book as well, which is something that surprised me because here’s kind of the secret behind that whole book – most of the content was already written before I put it out. It was on the website. It was on davidandrewwiebe.com.

I had written this guide on what it meant to be a musicpreneur or music entrepreneur here in the digital age. What I did was I took that content, I edited it, I updated it, I revised it. I added an introduction and a conclusion. I curated a few more blog posts, and voila, that was The Essential Guide to Music Entrepreneurship.

The feedback has been far better than I ever anticipated. So much so that I thought, well, this is what I would call a minimum viable product. If you haven’t heard of that term before, if you don’t know what an MVP is, a minimum viable product is like the least amount of content you need to make something that people would buy, or people would be interested in.

That’s a good concept for you to know as a musician to learn this whole thing about minimum viable product because as musicians we tend to obsess over perfection, getting something just right, making sure the vocals are in tune, making sure the guitar sound right, making sure the drums are exactly as we want them to be in the studio.

And then that often ends up being relegated or delegated to a producer or an engineer and sometimes musicians do it themselves too, right? I’ve certainly produced my own tracks.

We obsess about all these things not realizing that maybe 80% is good enough to get a feel for what people think about it. 80% is maybe not enough to get on the radio, to get in front of influencers, to get your music in front of a major label or anything like that, but it’s enough to get a feel for what people think about it.

They might go, “Hey, this is great. I love this.” Or they might go, “This is all right.” But the thing is if you got it 80% of the way there and people didn’t like it then you didn’t waste a ton of time and energy and money. You still wasted some of your resources. I still wouldn’t say it’s a waste because everything is a test and experiment anyway as an entrepreneur, as a musician, as a creative.

In some capacity, practically everything is an experiment. I’ve experimented with a lot of things. Trust me, a lot of them didn’t go well.

But there’s that extra 20% to take it to 100%. That 20% probably would cost you more in time, and resources, and energy, and everything to get your product perfect. If nobody likes the product, what was the point in spending all that time and money and energy on that? No point, right? So that’s the whole thing about a minimum viable product.

Guess what? The Essential Guide to Music Entrepreneurshipdid well as a minimum viable product. That was enough. It was straight to the point. It was no BS. There wasn’t a bunch of extra stuff in there.

There wasn’t just rambling incoherent text, which I hate about some books anyway. I love reading books. It’s just that some books go on and on and on about nothing. They’re not talking about anything. They’re saying a lot and not getting any kind of message across. I’m sure you’ve experienced that as well.

I just want to make you present to that fact that you can do that too. You can create a minimum viable product. Put it out there. Test it. See how people respond to it. If it’s good, you can iterate on it, make it something better or something like it. If people don’t like it then you can make kind of a bigger adjustment based on the feedback that you’ve been getting.

For me though, with The Essential Guide to Music Entrepreneurship, I found a winning formula. I found something that works well. Something people would want and something that people will buy. It’s an offer that converts, which is awesome. That’s something to be excited about, right, when you find something that works, something that people want?

I was then approached last year with the idea of creating The Essential Guide to Creative Entrepreneurship. I was approached by a friend and a colleague and a mentor, just a really wonderful person.

He said to me, “You know, we’re going to get this creative community started and would really love you to put together a book, maybe rearrange the content you already have in The Essential Guide to Music Entrepreneurshipand make it into The Essential Guide to Creative Entrepreneurship.” And that’s how this came about.

Now, I didn’t just merely rework the content that was in The Essential Guide to Music Entrepreneurship. I could have done that. I actually wrote everything from scratch. The content that I wrote again is actually available on the blog. That’s a little secret. Maybe you knew. Maybe you didn’t. You can find most of what’s in this book on my blog as well as on Medium.

If you’ve been following along, then you know that I’ve been doing quite a few experiments over on Medium as well, which is another social network. Just a place where you can take your blog posts and syndicate them. Or, you can even create fresh content for Medium, which is something I’ve done before too. So, it is content that you won’t find anywhere else, some of the things that I’ve created on Medium.

This book came together by really creating an outline. That was the first thing I did. I had a journal and I created the outline. I said I want 12 sections. And here are the 12 sections that I want to create. Once I was clear on that, I just turned every one of those sections into a blog post. That’s how I broke it down once I had the outline. And then I began writing each of those sections while also publishing them.

And, of course, something you should know about my process is once everything goes into the book, I still read it over and over and over again. In fact, what happens is I will submit the manuscript when I feel like it’s reached that point of being good enough, 80 to 90% of the way there.

I will get it up on KDP, which is Amazon’s self publishing platform. And then I’ll have them send me an author copy. When the author copy shows up, I get to see what the book looks like. Does the artwork work? Is it fitting properly? Are the dimensions correct?

And then I also look at the text on the inside and I go, “Is this readable? The message I am trying to convey, are there any awkward sentences? Am I missing a comma? Am I missing a period?” I will just go through it and edit it and make sure it’s up to snuff.

And then I will resubmit the manuscript one last time to KDP once I’m happy with it. And then the book comes out. That’s my process. First, I’ll get an author copy sent over. Look it over. Make some last-minute notes on the whole thing. And then, I will submit it to KDP to have it published and out there.

I’ve said a lot about the self-publishing process. I actually haven’t said a lot about the book yet.

The book itself is obviously there not just to help creative entrepreneurs but to help creatives in general and artists of all types to be able to create something and do it more efficiently and do it more effectively and then share their work with the world. And then of course, ultimately sell it.

You might be wondering what making and selling your neon yellow tiger means, which is the subtitle of the book, right? I don’t actually have an eloquent explanation for this yet. A number of people have asked me already what exactly that means, but it is about finding your niche. It’s about going into a niche that isn’t overcrowded, where there isn’t a ton of competitors already. Making something, a piece of art. Sharing it with the world and then becoming a dominator in that space. You can dominate that space if nobody else has created anything in it.

Now, if you do a Google search, you’ll see for yourself. You can search for neon yellow tigers and it will come up with lot of results, but the so-called results there’s really none showing like a legitimate… There aren’t too many legitimate neon yellow tigers out there. So, if you want to dominate that neon yellow tiger space you could do it.

Now, I’m not suggesting that’s what you do. I am suggesting that you find a niche that isn’t overcrowded and then dominate it. A niche where there is a demand and then go into it and hit it with everything you’ve got. That’s the concept behind the book.

There’s a lot of ideas, there’s a lot of tips, there’s a lot of suggestions, there’s a lot of advice, and there’s a lot of examples in this book of people who are doing well in creative entrepreneurship. I wanted to make sure I was citing and mentioning examples of people who are doing well in that space. That’s something you’ll find in this book.

It really is a little bit of a buffet. You can kind of take it or leave it because to be perfectly honest there are some slightly conflicting or contradictory advice in the book.

Before I get asked and interviewed – although I’m sure I will at some point – before I get asked, the whole idea is you can think of it as a buffet. You can take what you want. Just because you can take everything doesn’t mean you want to take everything.

I myself I don’t eat seafood. So, if I went to a buffet… And I do love Asian buffets by the way. If I go to a buffet, I’m not necessarily going to eat the seafood. I’m probably not going to touch the seafood. If I’m feeling adventurous, I might try just a little something but that’s not what I’m going to go for.

I’m probably going to go for the spring rolls and the rice and the dumplings and maybe some soup or some noodles. That’s more of my speed, so that’s where you would find me at the buffet.

Same thing with this book. I think most if not all of it is applicable and helpful but if there are things that you don’t find helpful, just toss them. Just throw them out and go like, “Okay. This point earlier makes more sense to me than this point that was mentioned later in the book.” And that’s how I take it.

This is really exciting to me. One of the reasons is because it’s sort of started creating a bit of an ecosystem.

What I want to do now is publish many more “essential guides”. Just to give you an idea, I haven’t revealed this elsewhere but I’m thinking about creating The Essential Guide to Community Building. That’s project that’s sort of getting into the works.

I was already going to be working on a book about growth hacking for musicians. I think I will turn that in to The Essential Guide to Growth Hacking for Musicians.

Another title that I’m thinking about is The Essential Guide to Crowdfunding. The Essential Guide to Personal Development for Musicians.

This really opened up a whole new world. At some point, I’ll probably register a domain name and put all those books up there as well. Might be like EssentialGuideBooks .com. And then continually update and revise those books and add new content to them as we see fit and necessary for the whole project, and of course based on the feedback you give us. That’s a huge part of it.

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