What is Fledgling Tunes?

Fledgling Tunes is a unique beast. It is an artist, a label and most importantly, a community in which artists, writers, and producers, can connect and grow together in a very tough industry. By standing together we can also change things that need to be changed – such as fighting for better deals with labels and streaming platforms. Fledgling aims to help educate new artists and their fans on how we need to reshape the system.

What prompted you to create Fledgling Tunes? / What is wrong with the music industry?

The idea came about after collaborating with many artists. I became very aware of the obstacles that each artist and creator has to face in the music industry. This often hampers creativity and stops the music from getting out. Artistically, Fledlging offers artists a chance to experiment musically. Fledgling can also be used as a side project.

The main thing is for us all to connect, grow learn and fight together for better rights for all. If we get enough creators coming together and releasing music into a community then we will see not only an increase in audience reach but also a bigger network through which everyone can thrive and develop.

“Artistically, Fledlging offers artists a chance to experiment musically.”

Alfie Jackson

What is the ambition of Fledgling Tunes?

The initial aim is to create unreleased music with an exciting roster of new creative talent.

The long-term goal is to shake up the music industry to the extent where artists are finally getting paid fairly and they will be able to have more control over their content and engagement.

I am in talks with a Web 3 development team and it is clear that the Internet and how creators can utilise it is going to change in the near future. I have a plan and a vision in which I see creators flourish away from labels and streaming services as they currently exist. With the Web 3 team, we intend to create a far more intuitive and fair system for funding artists that will also be more engaging and rewarding for fans.

How do you find/identify artists for Fledgling collaborations?

After a fair few years in the music industry, I am fairly well-connected with management companies, publishers and live agencies. I also keep my eye on emerging talent on social media.

Are there certain characteristics or things you are looking for in a collaborator?

Talent and dedication are the key ingredients, but you’re also looking for someone who is honest, open and adventurous.

What makes a good songwriter?

Someone who knows how to connect with raw emotion and who can bottle it into music and lyrics. I think a wild imagination is very important. Perhaps most importantly, is a big heart tied to a wise mind. 

Tell me about the music Fledgling has released so far?

5 songs with 5 singers from 5 different countries! Breezy upbeat songs and heartbreaking ballads!

So far the genre is mostly in the folk/indie world but we are open to all genres so long as there is a good vibe, melody and message.

How do you write a song, is there a process you always follow?

It’s never the same. Sometimes a melody first, sometimes a lyrical idea, sometimes a riff.

With a group of people together, it’s usually from scratch but sometimes someone has the beginning of an idea that they were not able to develop alone. This is one of the great things about collaborating – you can realise ideas that you know are great but you’ve never been able to develop alone.

Which song that you have written are you most proud of?

Difficult to answer. Released: Most Lonely Face with The Holloways; though the best-recorded version was lost!

Unreleased: Smile with Skinny Living or Heart in a Cage – a song of mine

What is your career highlight in music so far?

Probably being on Never Mind The Buzzcocks or playing The Other Stage at Glastonbury but I have hopes that Fledgling can achieve something to surpass all that!

Which song by another artist do you wish you had written?

So hard! I could give you a different answer every day of the year. Today I will say “Bridge Over Trouble Waters” by Simon and Garfunkel.

How can people reading this support Fledgling Tunes?

• Follow on Instagram, TikTok! YouTube and Facebook.
• Comment, like and share content!
• Buy the songs via Bandcamp
• Make financial donations via the PayPal link on our website.
• Follow the playlists on Spotify and add our songs to your playlists
• Follow the artists connected with Fledgling and let them know you’re supporting the community ethos.

Find all links to Fledgling Tunes here

Read into our efforts to help fix streaming – check out our videos/diagrams explaining the issue with the market share model used by Spotify and how User Centric Payment systems employed by Deezer are a step in the right direction.

We’re a music blog championing incredible independent artists so we are always looking to discover great music. Who should we be listening to that we don’t already know?

Obviously the artists we’ve collaborated with so far. Also: Skinny Living are a great band that I admire a lot. Isaac Stuart is a very exciting up-and-coming singer-songwriter.

Gemma Rogers is one of my favourite artists to work with and her next album is going to be EXTRAORDINARY.

Discover more on RCM

• Fledgling Ft Sara Hartman Release Flowers On The Pavement
• Free Music Marketing Training For Independent Artists
• Music Marketing vs Music Promotion Avoid These Three Mistakes
• Music Promotion: Nobody Cares About Your Music (As Much As You Do)
• In Response To Chris Moyles Most Unsigned Bands Are Crap

Words Mark Knight

The post Fledgling Tunes Interview With Alfie Jackson appeared first on Right Chord Music Blog.

From all of your research what is the most common technical similarity in a hit song?

A short, effective intro that instantly hooks the listener into the song,  a first chorus that hits early, infectious and simplistic melodies, fluctuations in MTI levels (momentum, tension, intensity), frequent sectional turn-over, universal yet clever lyrics, and the A-B-A-B-C-B form (verse-chorus-verse-chorus-bridge-chorus) to name just a few.  

Can you think of any examples of hit songs that break all the rules, but and are still huge hits?

I think today it’s more about “going against the grain” than actually “breaking all the rules of songwriting.”  Adele, Gotye, and Fun are perfect examples of this.  The nature of hits such as Rolling In The Deep and We Are Young completely stood out from the mainstream pack, but at their core, they used “tried and true” craft fundamentals.

That being said, some songs stretch the rules and push the boundaries more than others and still top the charts.

One recent song that comes to mind is Rihanna’s We Found Love, written by Calvin Harris.  Only 28% of the song was comprised of the chorus while most mainstream Pop hits land in the 45% – 55% range.  It was actually the instrumental sections of the song that accounted for the majority of the time (32%).   That’s something you didn’t find much in top-charting Pop songs up until that point.

Another one would be Feel So Close, also written by Calvin Harris.  This song possesses a B-IB-B-IB-C-IB form (Chorus – Instrumental Break – Chorus – Instrumental Break – Bridge – Instrumental Break) and technically didn’t contain any verses (how often do you see that?).   The brilliance of it though is that if you look at the song structure from a different perspective, you’ll see it falls into a “traditional” A-B-A-B-C-B form: consider the chorus to be the verse and the instrumental break to be the chorus – since it’s technically a payoff.  And there you have it, A-B-A-B-C-B.

And then there are the Black Eyed Peas hits like Just Can’t Get Enough.  Conventional yet unconventional, but it works!

Has the internet and viral videos resulted in more of these freak hit songs?

Absolutely.  Remember Rebecca Black’s “Friday?”  That song and the accompanying video became massive viral hits, but for all the wrong reasons.  Unfortunately, people love train wrecks just as much as they love seeing something that’s amazing.  And then you have Gangnam Style, which is inching ever closer to the billion view mark on YouTube.  The song would never have attained the success that it had, hitting #1 in 29 countries, without the video and accompanying “horse dance” going viral.

Can you give us an example of a song you admire as being technically the perfect pop song?

Subjective nature aside, Carly Rae Jepsen’s Call Me Maybe is an example of the perfect Pop song.  It’s simple, clever, infectious and memorable on every level.  To date its hit #1 in 17 countries and landed in the top 5 on over 30 charts.  Call Me Maybe was one of my favourite “deconstructed” reports because there was just so much to learn from a song that sounded so simple.  And that’s what makes the song brilliant!

Aside from Call Me Maybe, any of the top-charting hits from Katy Perry or Maroon 5 (Last Friday Night, Wide Awake, Moves Like Jagger, One More Night, etc…) are as close to Pop perfection as you can get.

Do you have a favourite songwriter, someone who consistently delivers? (Why are they so good?)

We put out a report called “Who’s Writing The Hits?” that focuses on the Pop writers who consistently deliver.  People like Max Martin, Dr. Luke, Stargate, The Smeezingtons, Shellback, Benny Blanco, Ester Dean, Bonnie McKee, etc…are the go-to songwriters for today’s A-list Pop superstars.   What makes them so good?  Not only are they talented but they’re experts at their craft on all levels, pure and simple.

As far as my personal favourites go, Pete Townshend and Brian Wilson are at the top of the list.  They’re both in a category all their own.

What advice would you give to new songwriters – what are the common mistakes you see?

As for common mistakes, the #1 mistake I see songwriters making is that they do not dedicate themselves to honing their craft.  I see great raw ideas and inspiration, but the song itself doesn’t come together the right way and as a result, doesn’t connect and resonate with listeners. The good news is that craft can be learned.  Inspiration and raw talent cannot.

So first and foremost I would advise new songwriters to continuously work on honing their craft and to write every single day, for as long as they possibly can.  Max Martin, Brian Wilson, and Paul McCartney all wrote hundreds and hundreds of songs that went nowhere before writing a gem.  If you only write a few songs a year, chances are that you’re never going to write that gem.

I would also recommend studying the songs that are topping the charts.  There’s a reason those songs made it to the top and there’s a lot to be learned by dissecting them.  Learn what’s working and then build on it.

As for the songwriter who is looking to attain mainstream success, they need to remember that they are writing to connect with the largest possible AUDIENCE, not for themselves.  This is a mistake that I see a lot of songwriters making.

Last but not least, songwriters of all levels need to have thick skin.  There’s A LOT of rejection in the music business. You need to trust in yourself, remember that music is 100% subjective, and stay true to what drives you as an artist.  A great song will always find a home, and remember, one person’s trash is another person’s gold – so be persistent and always move forward!

If independent songwriters pay closer attention to the best practice principles around the structure of songwriting are they likely to give themselves more chance of standing out and picking up radio play?

That goes without saying.  Songs that utilize “best practice” principles gained from proven, current hits coupled with an original, fresh, creative spin will have the best chance at success. But that’s only part of the equation.  Raw talent, dedication, practice, passion, and perseverance are just as important, and that goes for songwriters of all levels – from the person who is just starting out up to today’s top songwriters like Max Martin and Dr. Luke.  Unless they keep writing undeniably strong songs, they won’t be writing for Katy, Britney, and Rihanna for much longer, that’s for sure!

The good news for up-and-coming songwriters is that the vast majority of songwriters out there don’t take the time to really hone their craft.  It’s those who do that have the best chance of making it.  That I guarantee you.

Discover More On RCM

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The post How To Write A Hit Song With Hit Songs Deconstructed appeared first on Right Chord Music Blog.

Introducing HotBox

Hailing from the lawless desert south of Israel by the Egyptian border, HotBox has been impressing on the local metal scene with their gritty, raw sound and all guns blazing attitude and live performances. Having recently released the 24-track album Legacy in 2021, they are also planning a global expansion, which includes them featuring here on the RCM blog. 

RCM: Hi Daniel. It is a pleasure to talk to you. First of all, I would like to understand the big picture. What is the independent music scene like in Israel?

HotBox: The independent music industry is not an easy one. Most of the time you, will find yourself facing many obstacles, mainly in terms of funding, and most musicians in Israel are required to work a second job to finance their music, studio hours, venue rent, etc. However, we’ve always found different ways to mitigate this. We built our own studio with the knowledge we acquired when we worked in construction. When they did not want to give us a stage we started with street shows and when they did not accept us at festivals we set one up ourselves. 

RCM: Thanks for the clarification. Now, on the type of music you play, is rap/metal a popular genre in Israel? is it welcomed/frowned upon?

HotBox: Rap metal is the least common style in Israeli metal, so uncommon that we are among the only bands in the genre, if not the only one. At first, neither the metalheads nor the rap fans appreciated our style but that did not stop us. We joined forces with certain underground bands and invited them to perform together in street gigs. Our name slowly caught on and we started to get opportunities on different stages. Today, we are already entering the “big names” leagues, along with the same bands that did not want to play with us in the past. Currently, Hotbox is considered one of the most colourful bands in the scene. 

RCM: How did having to complete national service impact the development of your career. Is it just an accepted part of life, or can you object?

HotBox: Military service does take three years out of your life. You can not do much and must serve. You can try to get out of it but most of the time it will require you to sit in jail. While bands based in other countries can already go out on tour at the age of 18, you are forced to leave everything and serve in the army. Despite this, there are many positive things that can be taken from military service. I don’t regret it. 

RCM: And how much did growing up in Israel impact the type of music you make? is it a product of your environment and how does religion or politics influence it?

HotBox: Growing up in Israel does its thing. The government’s treatment of musicians is very poor, but I must point out that sometimes these things build you up and teach you. Yes I would be happy if the government would give more to culture but politicians do not seem to change and the only thing they care about is themselves. Our music is a product of a desire for social change as well as our own, as a band and as part of a community. We want out of the situation where we were born, which is a world without a choice, whether caused by a bad financial situation or a bad society.

RCM: Thank you for your sincerity. Now, on the metal scene in Israel you mentioned before, How strong is it?

HotBox: The metal scene has some of the most talented musicians I’ve ever seen and it does not get enough credit, in my opinion. The number of professional bands that exist here is crazy and I’m glad we get to be a part of this thing in spite of everything. Today I am more than happy to see new generations of kids coming to shows and continuing the life of this scene, in the end, we make our music mainly for young people. 

RCM: Thanks for explaining it. Now, this is a sensitive matter. What’s your relationship with metal bands from Palestine? I know there are a few of them. 

HotBox: We didn’t have the opportunity to play with such bands, but we would not refuse to do it, as long as they are focused on the music and as long as they promote peace and not an agenda of hatred against other people.

RCM: Do you see HotBox achieving global success?

HotBox: Yes, I think this is very much possible. Otherwise, I would not even bother to be talking to you. We invest every moment we have in the promotion and development of this organism. I prefer to believe that the real question is not if but when. I think we are not far from reaching the whole world and we are working hard towards this goal. 

Fidel Beserra Thank you for your time, Daniel. This was great! I wish you all the best in the future and I hope we can talk again when you and your band have reached new heights. 

Daniel (HotBox): Thank you very much, Fidel. I wish you all the best and I hope to hear from you again soon.

Discover more from HotBox

• Spotify
• Instagram
• Bandcamp
• Facebook

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Words Fidel Beserra. (Answers edited for brevity and clarity).

The post HotBox: The Challenges Facing An Indie Rap-Metal Band In Israel appeared first on Right Chord Music Blog.

Hello Lissy, you were born in Stoke, but spent time in America – how much do you think your sound has been shaped by the places you’ve lived?

Lissy Taylor: Wherever I go I’ve always been massively involved in music and will find a place in the music scene, it’s what I’ve always done. I loved playing in the packed-out music bars across different states.  When I moved back from the US I started a songwriting degree in Manchester which is really when I started to develop my own sound in my writing.

The UK also plays a huge role in my music, most artists I listen to and inspire me are UK artists such as Florence and The Machine, Wolf Alice, Arctic Monkeys and Sam Fender.

What was the first song you remember really loving?

Lissy Taylor: Probably Valerie by Amy Winehouse. (originally by The Zutons).

Do you remember when you realised you had a voice?

Lissy Taylor: I sang a lot in the kitchen at home then eventually when I got a bit braver I sang in a show at school. I was pretty shy when I was younger so when it came to it the whole place fell silent because I think they were pretty shocked firstly that the usually quiet girl was getting up to sing for everyone and secondly that I was actually decent.

What’s been the highlight of your music career so far?

Lissy Taylor: Definitely up there is playing on SKY TV, BBC Radio 2 and doing my first UK headline tour.

What’s next for you?

Lissy Taylor: I’ll be releasing new music throughout the rest of the year and making plans to record new tracks as well, really excited. Aside from releasing new songs, I will be performing at Y Not Festival this summer which I can’t wait for.

If you could support anyone dead or alive on tour who would you play alongside?

Lissy Taylor: Florence and The Machine would be a dream come true.

What’s the ultimate dream?

Lissy Taylor: Being able to write music for a living, sell-out shows and work with people who are inspiring in what they do.

What’s the biggest challenge you face as an independent artist?

Lissy Taylor: Women in music have a tough time of it but we have to double down and do it for the gals.

We are a blog that champions unsigned and independent artists, give us the name of another unsigned artist that we should be listening to?

Lissy Taylor: The Empire Police, I went to Uni with the lead singer/songwriter Jordao and he writes song smashing lines.

Discover more from Lissy Taylor

• Spotify
• Facebook
• Instagram
• Twitter

Discover more on RCM

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Mark Knight

The post Discover ‘Lissy Taylor’ The Interview appeared first on Right Chord Music Blog.

Your music is so meaningful and the lyrics you have instilled in your music are poetic and have substance. When did you start writing lyrics and when did you discover you had talent for the written word?

Firstly I’d like to Thank you so much for recognising my work and taking it in. Music is an extension of all beings. We hear those frequencies and begin a process of transforming the vibrations into memories, emotions, thoughts and sensations.

When I speak into that microphone and explore the caverns of my mind, this is what I bring into the music that I create and that the audience hears. A process completely spellbinding me into an autonomous mode where I am the music that I am creating.

Truth is I never discovered anything, it found me and is a direct representation of my mind and personal experience. My sound has matured a lot over time and it’s taken perseverance, isolation, sacrifice and exploration of the most fragile and powerful parts of me.

Reviewing Psalm 86 for RCM was a wholesome and inspiring experience for me. The song gave me an insight into your words and musical direction. How do you come up with the concept within your songs as they all seem story-driven?

Psalm 86 is one of my best pieces of work for sure and again, I never went looking for the song and concept. These things come to me as I exist and develop further on this journey. New encounters, conversations, people, moments in time that reveal the next stepping stone.

I live through my music. From the moment I open my eyes, I’m constantly thinking of the storyline and everything that happens as signs of where to go.

You came to the UK as a refugee in 1999 from the Kosovo war. That must have been a harrowing experience for you. How does that influence your work?

I hate the stigma the word Refugee comes with and the fact we have to have a word like ‘Refugee’ exist to define the time period and what people went through.

Definitely an experience. Those times were difficult on my family and so many others.

That is one of the defining periods of my life whereby it toughened my skin and built the foundations of what I believe in.

Psalm 86 is a true masterstroke in terms of experimentation and diverse sounds. You implement reggae, Hip-Hop, R&B, into your work. It is such a melting pot, and you should be commended for being so versatile. What genre do you feel is your favourite?

Those genres have been more influential than things I implement within my work sonically.

Some of the best periods of my life have been listening to all of those genres and more, as I said, music stimulates thoughts, emotions and memories!

Hip-Hop and Reggae can definitely take some credit for me being more ‘cool’ and ‘confident’ haha – They all have their little additions to my personality traits and could never really pick a favourite, but Reggae is unmatched.

You’re a poet who takes words to a grandeur scale. Does it come naturally to you, and do your emotions aid you in creating these incredible moments and tracks?

These words have been given to us to use and communicate our thoughts and document our existence.

I tend to create very organically without limitations. Nowadays it’s not going into the booth every day as it used to be, but more so live out my life, perform, release, have deep conversations and then when I’m back, there is a whole storyline to come to when the time is ready to have a heart-to-heart with the music and the microphone. It’s like confessing your sins in the church to the pastor, except you’re having a discussion with the music and your experiences.

You came to London as a youth. Was it a culture shock leaving Albania for such a culturally diverse city?

The whole experience was quite overwhelming. From crossing mountains where soldiers would shoot the men and beat the women and put the children to work.

London was just a numb haze by the time we got here it was more of a “Thank God” we’ve at least got to our destination.

Later on, I could remember crying on my first day of nursery due to a kid offering me a red car, confusing the word ‘car’ with an Albanian diss relating to “Dickhead” lmao – so yeah, it took some getting used to.

PLEROMA The Place Beyond The Light is such a varied and accomplished EP. Are you working on a full length now?

Thank you. Pleroma is my first ever EP and creates a Universe for most of my work to live in. If it’s external to the Pleroma Universe then it’s because I’m creating another Universe for other songs to populate and exist in.

Working on our next LP titled ‘GEHENNA’

This will be my most accomplished body of work and we plan on hosting our own show in October. I hope to see you and your friends there. The experience will be memorable and striking.

You take the stage name ARXIVN. Does it stand for anything?

Arxivn read ‘A.R.X.I.V.N’ or pronounced as ‘AR-XI-VIN’ is an abbreviation of my real name ‘ARION’. ARXIVN is a protagonist that I am creating to exist through Sonic and Visual experiences.

Your voice is relevant, and your music shouldn’t be understated. Is there a tour on the horizon? I know covid has impacted the music industry, but are you ready to go on the road?

We’ll be ready to start doing tours as soon as we finish ‘GEHENNA’.

What are your feelings on the current state of the music industry?

Not really the one to attach feelings to such subjects if I am honest. The music industry is like anything else, a megalopolis of life and a combination of numbers and metrics. We are ready to make impactful stories, leave beautiful legacies and create art and share love for one another.

Discover more from ARXIVN on RCM

• The Ambient ‘86’ from ARXIVN
• ARXIVN Speaks of Truth, Patience and Loyalty on Psalm 86

Discover more from ARXIVN

• Spotify
• Instagram
• Twitter

Questions Mark McConville

The post We meet ARXIVN to discover the stories behind the music appeared first on Right Chord Music Blog.

What is an NFT?

In basic terms, an NFT (Non-fungible Token) is digital proof of ownership that lives in the blockchain. ‘Non-fungible’ just means it’s unique and can’t be replaced or destroyed.

If that explanation still leaves you baffled, think of this analogy…

When I was young I traded PANINI football stickers, just imagine if PANINI decided to only print one Lionel Messi football sticker rather than 1,000,000. Now imagine you were lucky enough to own it, had proof you were the only one to own it and there was no way you could lose it. That’s basically the principle behind an NFT.

Now swap Lionel Messi’s face out for a unique piece of art, music, video, invite to an exclusive event or even an item of clothing? (physical or digital) and you have an NFT.

Why are NFTs interesting to independent artists?

Up until this point success in music has always been predicated on reaching a mass audience.

• Selling millions of physical records, CDs, tapes, DVDs
• Selling millions of downloads
• Generating millions of streams
• Selling millions of tickets to live shows
• Reaching millions of people on TV, radio

When this is the model it’s no surprise that those most likely to succeed have the backing of a major label with access to mass media channels.

After all, the secret to success is reach and frequency. Success isn’t even dependent on great music, it just needs to be good or popular enough. If you can get music in front of lots of people lots of times you have a chance.

This reliance on mass reach means lots of incredible independent artists never get heard and if they don’t get heard, they don’t get paid. Remember 0.7% of the artists on Spotify take 90% of the revenues. That’s depressing especially when you realise 93% of the music released on Spotify last year was provided by unsigned artists and indie labels.

With the odds of financially sustainable success so firmly against them, it’s unsurprising that some independent artists are questioning whether there could be another way.

NFTs and the power of scarcity

Many independent artists struggle to sell singles for 79p so why are people now spending upwards of £100 on an NFT?

In the last 30 years, there have been several different business models for music. The original model centred around mass ownership of a physical product (vinyl, CD, cassette, mini-disc). The demand for physical ownership declined and iTunes and Napster enabled fans to download and own a digital mp3 or Wav file, but the model remained focused on a one-off payment and ownership.

The second model came with Streaming which replaced ownership with access. Music fans now pay a subscription to essentially rent music on demand. Now musicians earn $0.003 each time their music is streamed for their lifetime.

The NFT purchase represents a new third model which returns the focus to ownership over access. The key difference from the first model is scarcity. For the first time, independent musicians don’t need a million people to buy or stream their music to earn anything close to a proper income.

The new wave of indie-preneurs are now making a living by selling and reselling just 5, 10, 15, or maybe 50 limited edition pieces of unique content.  Finally finding your niche actually pays.

How the music NFT community grew

While audio app Clubhouse seemingly came and went in the blink of an eye, the idea of audio conversations didn’t die, they just shifted to a new location. Twitter Spaces has become the destination for the burgeoning music NFT community and it’s the best place to explore this world and meet the key players.

Introducing the independent artists making it big in NFTs

NiftySax

NiftySax is one of the most influential artists in the scene. His journey into NFTs began during the pandemic, unable to play live he used this constraint as an opportunity to learn something new, educating himself on the blockchain.

“A constraint should be regarded as a stimulus for positive change—we can choose to use it as an impetus to explore something new and arrive at a breakthrough.” Adam Morgan

He quickly spotted an opportunity to use NFTs to sell music and became one of the first to create instrumental NFTs. His first drop quickly sold out making him around £50,000 and when collectors started reselling his work his income soared past the £120,000 mark.

NiftySax now helps other artists to do the same through his swiftly established business NiftyMusic, a very modern take on the record label. His journey from struggling musician to the owner of a profitable record label is remarkable.

Josh Savage

Josh first caught our ear back in 2014 when we featured him as an Artist of The Week. In 2017 he played at The Takeover our online only music festival. He has always been the first to try new formats and this led to him being one of the first artists to embrace SOFAR Sounds. He used their platform and audience as a way to tour across Europe. He also recently played his first Metaspace gig in Decentraland. Its clear fortune really does favour the brave.

Currently based in Berlin, Josh sold out his first six NFTs in just one hour. He’s quick to point out that to make the equivalent income on Spotify he would have required 250,000 people to stream his music! Like NiftySax, Josh also benefitted from the 10% recoup on secondary market resells. One of his NFT sold at 20x its original price while another is currently listed at £30,000. Wow.

His second Drop lands on March 6th this time with 10 editions, This will be followed by his second album Another Life on 22nd April. (Check links below).

Fifi Rong

Fifi Rong is a Chinese-British Avant Pop vocalist/songwriter and music producer, like Josh Savage she is another former Artist of The Week on RCM and another highly creative and independent artist.

She’s been in Crypto for two years and dropped her first NFTs last year (they sold out). Her initial strategy that combined old-world crowdfunding with new world NFTs marked her out as a creative pioneer.  Ever since then she has been at the forefront of the NFT artist community with her role slowly shifting from connector to teacher.

Fifi firmly believes the model and definition of success is changing. Her dream is the freedom to create music and financial freedom through music.

“This is not about ego it’s about music” Fifi Rong

Her next project alongside NIFTY Sax is bigger and better than ever with more unique and rare content for fans and investors to buy. Follow the links below to keep updated on her plans.

Violetta Zironi

Violetta Zironi an Italian singer-songwriter and actress is the newest of the four to the scene. Her journey to NFTs is also the least conventional, her mum told her about NFTs! Just like the others, her first NFT drop ‘Handmade Songs’ a collective of intimate live video performances quickly sold out. She generated the equivalent of 500,000 Spotify streams from just 15 sales.

She admits feeling frustrated with Instagram a channel where her holiday photos attract more interest than her music. She believes NFTs signals the end of musicians needing to be lucky. She now knows what she needs to do to earn a living, it’s hard work, but it pays off.

Her next project is centred around a 5 track EP each with different artwork an increasing rarity. Investors could end up with a Diamond edition where only 3 copies exist or a Gold edition which is less scarce, it will be luck of the draw. This strategy is designed to encourage multiple purchases and is also likely to drive secondary re-sales.

Success is hard work

After speaking to these artists it’s clear their success is no fluke, it’s down to lots of hard work and a clear strategy. While the early bird might catch the worm. If you are lazy you won’t succeed, NFTs won’t be the answer for every musician. Violetta believes a change in mindset is needed by musicians, you have to be entrepreneurial, you can no longer just sit back and wait for success to come to you.

Who is buying music NFT?

If you expected NFT sales to be driven by existing fans of these artists on Instagram, Facebook or YouTube you would be wrong. NFTs buyers represent a new audience of investors, collectors and speculators. While some might be interested in the music, it’s more likely they are interested in smart investments. There are parallels here with the real world, if you ever find yourself at Sotherby’s you’ll notice the buyers are investors, not just art lovers.

NiftySax believes understanding the needs and wants of your investor audience is crucial to achieving success with NFTs. Just showing up and selling out, doesn’t just happen.

“We are artist-entrepreneurs we exist at the intersection of finance and art” Fifi Rong

In fact, the artists interviewed largely keep their web2 and web3 lives separate. They have all tried to mention and promote their NFTs on Instagram, and have concluded it doesn’t really work, engagement and understanding is just too low.

Which begs the question can meaningful fan engagement ever be fostered on Instagram? Are Facebook, and Instagram increasingly going the way of Myspace where organic reach falls, follower numbers increase and engagement rates decrease to the extent that the value of the platform all but disappears? A few years ago it felt like Twitter was the social network with the least traction, but when it comes to NFTs Twitter is the place to be, especially since the addition of Spaces. Musicians want a channel where they can easily share links and the audio is always on.

The role of the major label artists

The established artists backed by the major labels aren’t seen as a threat to the independent artists. In fact, they believe they can actually help. The role of the major label artists is seen as building awareness and understanding of the scene. While major-label stars might drop an NFT, few are sticking around due to real-world tour and release commitments, this often means prices drop and indie artists benefit.

Looking to the future

These artists recognise the things that helped get them where they are today, won’t necessarily be the same as the things that get them where they want to be in the future.

While all these artists have enjoyed some level of success of Spotify they all seem to recognise that part of this success was about being there first. Now they express a collective frustration at Spotify’s oversaturation. Violetta believes in the early days of Spotify you could make your own luck. But now it’s down to algorithms, there is no way of knowing how to be successful. What works with one single, fails with the next.

This doesn’t mean the immediate death of Spotify, but it does signify a shift in focus. To these artists, Spotify is no longer the sole end game. It’s merely one way people can discover them before investing in their NFTs. There is no doubt that having success on Spotify can make you more investable, but all these musicians are quick to point out it’s only a small part. To succeed in this space you need to hang around. Just because you have 10 million streams on Spotify doesn’t guarantee success. If you drop in and quickly drop out your NFTs won’t hold their value.

NiftySax believes web2 platforms like Spotify will ultimately just provide free access to music while NFTs become the way artists get paid.

It’s clear when talking to these artists that NFTs represent a light at the end of a long dark tunnel. Finally, they are making a living through music on their terms without compromise and that’s exciting.

What you need to get involved

1. Understand the basics
2. Follow Josh Savage, NiftySax, Fifi Rong and Violetta Zironi on Twitter
3. Attend one of their Twitter Spaces NFT discussions

Then when you feel confident to take the next step

1. You need a Crypto wallet we recommend you start with MetaMask
2. Buy some Crypto by transferring money into MetaMask from your bank
3. Head to a marketplace like Open Sea to buy and sell NFTs

Keep updated on future NFT artist drops

• NiftySax website
• NiftySax & Fifi Rong ‘Harmony’ on Open Sea
• NiftySax Spheres secondary market on Open Sea
• Josh Savage website
• Josh Savage NFT whitelist next drop 6th March
• Fifi Rong website
• Fifi Rong claim your free NFT
• Violetta Zironi website
• Violetta Zirona ‘A Little Rain Must Fall’ NFT Dutch auction
• Violetta NFT whitelist

Discover more articles like this on RCM

• Free Music Marketing Training For Independent Artists
• Five reasons why music PR consistently fails unsigned musicians
• Push Marketing Is Dead. 10 Ways Independent Artists Can Succeed In 2022
• 6 Ways Independent Artists Can Learn From Brands

Words Mark Knight

The post NFTs: The Opportunity For Independent Musicians appeared first on Right Chord Music Blog.

We caught up with Nora Lilith to unpick and unravel her artistic journey so far, the creative process behind the ‘Daysof8’ EP and what comes next for this exciting, genre-defying artist.

​​Hi Nora Lilith, welcome to Right Chord Music. Thank you for joining us today, we really appreciate your time.

Thank you for having me!

To give our readers a heads up, please give us a brief introduction of you and your music.

I’m an autodidactic singer/songwriter/producer working with DIY sounds somewhere along the lines of lo-fi experimental bedroom pop, with an interest for trip-hop, jazz, house, and generally unconventional sounds.

You’ve recently revealed your debut EP ‘Daysof8’, what was this process like for you? The highs, the lows?

It’s been quite a learning curve, especially in the ways it illuminated things about my relationship to my music, and to releasing. Initially, I gave myself about a month or two to write most of the tracks. It was exhilarating to find a process that would condense my creative work like that. But was also a dissociative experience in some ways as I’ve generally, since then, been growing in awareness of how I’ve never truly learned how to be in rhythm with myself creatively.

That my anchor into music sort of got lost at sea, and I’d been instead outsourcing my creative drive and intentions. So I think at different stages of the creative process as well as during the release itself I was plagued with anxiety and self-criticism. In a weird way though, I think these lows made way for some of the highs, as all growth comes from discomfort. 

I’ve also never had a publicist or worked with a label before so that was definitely an exciting change; it felt great to have support and not feel like I carried the weight of a project all alone. 

What would you say your favourite track is on the EP?

Hmm, I’d say either Daysof8 or Yolk probably. I still feel tethered to my juvenile excitement that came from using Alterboy for the first time, so these tracks felt vocally expressive to me in a different way; in their tonality.

What’s the most rewarding part of making music for you?

The moments I’m singing and able to tap into the deepest parts of myself through tonal and lyrical expression. I feel transported, blissful, a sort of out-of-body experience where I instead wholly embody the sounds that wrap around me.

What would you say you love most about being a music maker?

I think expanding on that last response, I love the opportunity music gives me to connect with and develop a deep sense of intimacy with my soul. It sort of feels like a bridge between two worlds, an access point where I can meet with myself away from the rest of the world.

You used to be a part of electronic duo NÄM, how would you say this differs from your current project?

NÄM had a very different sound, it was more overtly pop I’d say. I also wasn’t producing in NÄM, I actually didn’t know how yet, so this solo project is very special to me as it gives me the opportunity for more creative control. My voice was also so different back then! Haha, it always blows my mind a little when I listen back to those older tracks, and how much my voice has evolved in that time.

What did you learn from your time as one half of NÄM?

For one, coming out of the project I learned that I am capable of pursuing my creative vision on my own, which is something I had doubted during. Throughout NÄM I definitely learned a lot of technicalities about the music world, performing, and the industry. I was also introduced to Ableton which is the software I now use to produce.

Any plans for any live shows/tours in the not too distant future?

Honestly, no! I haven’t made any live show plans, I don’t even have a live set figured out right now. It’ll come though, at some point haha.

What’s next for Nora Lilith?

I’m planning on moving back to Berlin come summer 2022. I’m curious to see how that re/directs my music journey. My priority right now creatively is giving myself the time and patience to build a healthier relationship with my music, tapping back into my authentic expression. What may or may not come of that in terms of releases I just don’t know yet! I do have tracks for days though so you’ll be seeing more eventually  

Discover more from Nora Lilith

• Instagram
• Youtube
• Twitter
• Spotify

Read more about Nora Lilith on RCM

Words Daisy Lipsey

The post Nora Lilith The RCM Interview appeared first on Right Chord Music Blog.

Ahead of the show we caught up with Austel to understand more about her inspirations and creative process.

We assume your name comes from St Austell in Cornwall? Why did you choose a version of this name, and to what extent is the music you make a product of your environment?

It certainly does. I’m a Devon girl, but spent a lot of time in Cornwall as a child on family camping holidays. I wanted a pseudonym that had a personal element to it, whilst creating something unique.

My songwriting is definitely influenced by my surroundings – especially the stark contrast between the city and sparser landscapes I grew up in. You can feel isolated in the most crowded of places, or totally free in a desolate space.

Can you Explain your songwriting process?

Usually with a phrase / lyric that I’ve thought of on the move and scribbled down. Once that idea or notion is there, the song forms pretty simultaneously; I’ll write the music and lyrics alongside each other. I’ll record a demo on piano / synth / guitar, work on the arrangement a little more and then take it to the studio.

Having said that, I’ve recently started to experiment a lot more with different writing styles – whether that’s coming up with a drum beat or bass line first and working from there, or turning a fully-written poem into a song.

There is a very clear visual style to Austel with lots of black and white. How important is the overall look and feel to you? Can you ever imagine a time when Austel is bathed in bright colours?

I love photography and artwork, so it’s important to me to create visuals that represent the music and who I am as an artist.

I’m naturally drawn to a monochrome, moody aesthetic (my friends will testify that I have a very gothic wardrobe!) – I think it sets a tone that resonates with my songs. Things are starting to feel a little brighter though, so who knows, maybe you’ll see some blue or something creeping into future shots…

If you could pick your dream festival bill with you as headliner, who would be supporting you (dead or alive)?

Wow, tough question! And dream job. I’ve been lucky enough to see most of the following perform at festivals before, so I know they’d all be epic.

PJ Harvey, James Blake, Nils Frahm, Nick Cave and The Bad Seeds, Patti Smith, Daughter, Bat For Lashes, Wild Beasts, Bon Iver, Fever Ray, Kate Tempest, Christine and the Queens, Thom Yorke, Maggie Rogers, Sigur Ros, Nadine Shah, The National, Jon Hopkins, Bjork, Pumarosa, Hero Fisher, Goldfrapp, Four Tet, Half Waif, Josin, Sharon Van Etten, Phoebe Bridgers, IDER, Bonobo, Massive Attack…

And I’d bring Elliott Smith, Nina Simone, Johnny Cash and Leonard Cohen back from their long sleeps if I could.

What’s next for Austel this year?

I’ve got some intimate London shows coming up, and then a couple of summer festival slots in the diary – all of which I’m really looking forward to! There may or may not be some more music on the way… you’ll have to wait and see

Discover More

Austel: Facebook / Instagram / Twitter / Website / Spotify

Watch back previous RCM Takeover Sessions.

The post Watch Austel Live For The RCM Takeover Sessions appeared first on Right Chord Music Blog.

How would you describe your sound to anyone that hasn’t heard you?

I would describe my sound as Country Rock, somewhere along the lines of the Eagles… but with Lee Ann Womack’s twang!

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How old were you when you first started making music?

I’m actually 21 now, but I was 13 when I first started to seek making music professionally.

What was the first song or artist that inspired you to make music?

I don’t remember the first song, but I do remember the first artist. When I was little my parents used to play me Patsy Cline records and I was and still am completely obsessed with her music. The way that she can move you just with her voice and a simple melody is astounding and I remember thinking that it was exactly what I wanted to do.

Why do you think Country music is becoming so popular in the UK?

I think that Country music is growing so much over here because its refreshing. The way that pop music has gone over the last few years means its much more dance, beat driven and there really aren’t that many great pop songs coming out with great stories. So I think people have found that Country music is giving them the lyrics, the emotion and the stories they have been missing.

What’s next for Katy Hurt?

What’s next for me is another single which will be out very soon, and then I’m going to have an EP out by the end of the year. So lot’s of new music and exciting new content on the way.

Who are you listening to, that we need to hear?

There are so many underrated artists that I think people should be listening too. Currently I’m completely hooked on Lukas Nelson, whom I think has put out one of the best records I’ve heard in years. I’m also really into a band called The Night Game, who are actually very 80’s pop, they have been opening for John Mayer on tour and their song “The Outfield” is killer. In terms of unsigned artists, I get to perform with so many acts who really should receive more recognition. Elles Bailey is a friend of mine and she has been killing it in the blues world lately, so if you haven’t heard of her you should go check her album out!!

Further listening

Watch Katy Hurt perform for the RCM Takeover Sessions Listen back to Katy Hurt on the RCM Lost On Radio Podcast & Spotify Playlist

Katy Hurt Links

Facebook

Instagram 

Spotify

The post Katy Hurt – The RCM Interview appeared first on Right Chord Music Blog.

For anyone that doesn’t know you or your music describe your sound in a sentence 

I’d say it’s clean rock! Pop songs in an indie rock dress, catchy choruses and delicate vocals over a heavier background.

Do you remember the song that first inspired you to learn an instrument or sing?

I’d wanted to learn how to play guitar when I was little because my uncle was a musician and I was used to seeing him around the house with the guitar, but it was actually after obsessing about Avril Lavigne’s music and seeing her live when I was 12.

Who or what was your greatest musical influence growing up as child?

It has to be The Beatles. I grew up listening to them and my favourite film when I was a kid was ‘A Hard Day’s Night’.

To what extend do your Spanish roots influence the music you make?

I wouldn’t say that my Spanish roots are very noticeable in my music, I guess I do have that Spanish pop influence because we are what we listen to, but I grew up listening to a lot of UK and American artists, so my influences come mainly from there.

You’ve just played The IoW Festival – if you could play any festival in the world which one would it be? And who would you most like to join you on stage

One of the things on my bucket list was to play FIB (Benicassim festival) as that is my ‘local’ festival back home in Spain and I recall it since I was a kid. I’ve been going since I was 16 and this year the boys and I are playing it! So I guess it would be headlining that and playing at Glastonbury. I’d love Paul McCartney or Noel Gallagher to join me onstage!

What’s next for you? Singles / EPs / Album? Tour?

I have lots of new songs and I’ve been working on some of them with the band. Some of them we’ve started to test out live and others are still in demo process, but we are going into the studio in the next couple of months, so there will be new music coming out soon! At the moment I am going down the singles and if all goes to plan, there will be a tour of sorts coming with the release.

Tune in to the Right Chord Music Facebook page tomorrow (Tuesday 26th June at 8pm) to watch Nadia Sheikh live. Like our page to be notified when the performance starts.

Watch back previous RCM Takeover Sessions here.

The post Nadia Sheikh – Interview appeared first on Right Chord Music Blog.