Category Archives: Artist Profiles

TuneCore Live Artist Breakdown: Olivver The Kid, Nightmare Boy & Hudson

[Editor’s Note: This post was originally featured on CraveOnline, a mens lifestyle & culture  website based in Los Angeles. TuneCore is psyched to have a trendsetter like CraveOnline as an official sponsor of our TuneCore Live series, which kicks off tonight, 1/28 at Bardot in Hollywood! We’re hoping to see some LA-based TuneCore Artists at Bardot representing!]

Crave is excited for Wednesday’s live launch event of the TuneCore Live series, hosted by online music distribution service TuneCore. The service, which offers musicians and artists the invaluable opportunity to market their music into online retailers such as iTunes, Amazon and Spotify while keeping all their rights and royalties, is sponsored by CraveOnline in an ongoing partnership. A crucial component to the success of any artist, TuneCore helps rights holders maintain control over their work while eliminating the costly middlemen factor.

The TuneCore Live launch event — taking place at Bardot in Hollywood on Vine — will feature live performances by The Neighbourhood alum Olivver The Kid, as well as SoCal rockers Hudson and Nightmare Boy, whose credits you might recognize from Lana Del Rey’s Ultraviolence album. Additionally, the event will feature DJ sets by Tron Stamos and Konstantsurprises.

Dig into more info on the artists on the bill below, and sample some of the music fans can look forward to at the TuneCore Live launch event!

Olivver The Kid 

Bryan Sammis has been highly active since his departure from The Neighbourhood in 2013, as he has established himself as first “Olivver” and now “Olivver the Kid”. With a new sonic horizon before him, Bryan’s focus is more on synths and brood-pop rather than rock, and he’s all the better for it.

Stream Olivver the Kid’s long-awaited debut EP Freak on Spotify and pick it up on iTunes if you’re so inclined. In the meantime, check out the dream-funk danceability of “Attica ’71” below:


Los Angeles avant-garde rock quartet Hudson are dedicated and passionate about making their mark in the world, with a relentless work ethic and a promising evolution of sound underway. With shows selling out at an accelerating pace, rock fans would be wise to keep an ear on these cats. Their In The Unknown EP is available now on iTunes, and below you can listen to the whiskey-soaked slow-burn groove of “Weightless”:

Nightmare Boy

Aching beauty, poignant power and golden vocals define the delicate greatness that is Nightmare Boy. Listen below, and follow his Twitter and Facebook accounts closely for a new video, coming soon.

Follow Tron Stamos on Twitter and Instagram, and find more on Konstantsurprises on Twitter andofficial site.

TuneCore is sweetening their event promo by offering one winner a FREE One-Year Album or Single TuneCore Music Distribution subscription. Get your songs heard and sell your music worldwide on iTunes, Amazon, Spotify and more through TuneCore’s service, and keep 100% of your sales revenue.

Interview: Composer Mark Phillips Discusses Scoring ‘Serial’ Podcast

Podcasts are an increasingly popular medium to communicate stories, news, and other content with listeners, episode-by-episode. In fall of 2014, a podcast series titled Serial emerged as a spin-off to the critically acclaimed “This American Life” radio show/podcast on NPR. Over the course of 12 weeks, host Sarah Koenig took listeners through a murder case that occurred in the winter of 1999 in Baltimore. Through extensive research, recapping of the trial, and incredibly personal phone and in-person interviews with suspects and family members, fans became addicted to the story’s overlooked, unreported, and formerly unheard details. A case you may have read about in the newspaper or watched in a nightly news segment 15-years ago suddenly became a viral sensation. It’s no understatement to call Serial‘s popularity a cultural phenomenon, even earning itself an SNL-spoof treatment. If you haven’t yet listened to the series, prepare to become enthralled!

One undeniable element that made the podcast so compelling was the musical score. Lurking in the background of each episode is carefully composed instrumentation and hooks that help move the chilling story along in an unbiased way. It’s no easy feat providing a soundtrack to a murder case podcast with no visuals. TuneCore is proud to be the distribution choice of the podcast’s original score, and we were psyched to discuss the process with composer of the score, Mark Phillips! Read more below.

1.) We haven’t seen any podcast series become quite the cultural phenomenon like we did with Serial. As a musician, or even a fan of podcasting in general, what were your expectations going into this project?

Mark Phillips: I love podcasts and think we’ve been seeing the whole medium gaining all sorts of momentum with people like Alex Blumburg (former This American Life producer) launching a podcasting company called Gimlet, and Mike Pesca launching a daily Podcast on Slate. It just seems like podcasts are having their moment. And I’m a HUGE fan of This American Life and Sarah Koenig’s work in particular. She did a story a couple years ago called Dr. Gilmer and Mr. Hyde that was one of my favorite pieces of journalism ever. I made two different friends sit down and listen to the whole hour-long story while I watched them, just because I wanted to be sure they’d listen to it. So when I heard the idea for Serial I knew it was going to be fantastic – all those great details and tangents wouldn’t have to be cut out. But of course I had no idea it would connect with people on THIS level. I think we think of only dumb things going viral – like a 30-second YouTube clip of a guy slipping on a banana or something – but great storytelling goes viral too. Breaking Bad, Lost, Mad Men, Game of Thrones… those shows went viral. It’s great to see it happen with a podcast. Hopefully we’ll see more podcasts go this viral soon!

2.) Describe your relationship with Nick Thorburn (songwriter for Serial’s theme song).

Nick wrote a batch of songs before the season started, which included the theme song. I actually didn’t interact with him – I think he was on tour – because it was just that initial batch that he sent in. Those songs were used to score the first two episodes and then after that I wrote the score. (We continued to use two of Nick’s tracks pretty regularly – they worked great as score). His theme is obviously amazing and super catchy. It acts as a sort of sign post that show is beginning or ending so we found we couldn’t really use it during the show as score or else it gave this false cue that the show was ending, so I tried to make my tracks sound pretty different from the theme for that reason. With my scoring I was trying to make it super subtle and not noticeable. People always say when a film is well-scored you don’t even notice there was music, and I guess that’s what I was trying to do. So when the theme song is the only music people remember, I take it as a sign that I did my job!

3.) You’ve scored other podcasts – how did your approach to Serial based on the nature of the content differ, if at all?

I really tried to approach it like scoring a film. I’ve worked on a lot of public radio shows and podcasts and the model there is you usually use songs as the score. It works great for a lot of shows but the producers told me they wanted this to sound a bit different than This American Life or some other public radio shows. So I told them I wanted to write score instead of songs – like something you’d hear on a film or an HBO series. That means it was usually pretty simple – like a solo piano or just a synth pad – and would just kinda creep in unnoticed. That way it would be doing the one thing we wanted to help the story.

What made the show so addictive, I think, was that we didn’t know what to think about Adnan or the other characters. Whether to believe them, whether to feel sorry for them or what. So the scoring became a really delicate process. If it sounded too ominous then it started to feel like we were telling the audience “Don’t trust this guy! He’s lying!” Or if it sounded too sad in other moments it felt like we were telling the audience “He’s innocent!!” So we really didn’t want the music to act as a cue for what people should feel about the case. Of course that’s really hard in practice because music is never emotionally neutral. So I tried to focus on the things that were true regardless of what really happened. Most of the time that meant focusing on Sarah Koenig’s emotions and her feelings of ambivalence. She’s sort of a proxy for the listener so it felt OK to score for what she was thinking and feeling. The sound of ambivalence isn’t immediately obvious, but I guess I tried to make it feel unresolved. In one episode Sarah described a piece of information as a “disturbing buoy” that kind of bobs above the water and I tried to keep that image in mind and make music that fit that visual.

4.) Given that this series was so journalistic, how much advanced preparation from a scoring standpoint went into the release of each episode?

There was very little time! They sent me the episode on a Tuesday and we had to post the final mix by Wednesday night. I also mixed the show, (which involved a lot of audio restoration), so there was often very little time to come up with new music. I also needed to build in time so we could have some rounds of edits and tweaks with Julie Synder, the show’s executive producer. Often I’d send her my first mix and she’d want this piece moved 30 seconds earlier, that piece removed, or another piece re-done entirely. She was always spot-on with her notes because the story was so sensitive and she knew it so well. Sometimes I had to write three different pieces for a section before we found one that worked. So speed was the name of the game. In a way it was liberating. There’s no time to get hung up on the small stuff – it forces you to focus on the bigger picture. (Maybe if I set insane deadlines I’d stop overthinking and finally finish the album I’ve been working on for five years!)

5.) Without a visual component, is it difficult to capture the mood of the story using music? Or are there certain advantages to this?

I mentioned that line Sarah wrote: “that kind of bobs above the water for me, like a disturbing buoy.” She’s actually a very visual writer. Another way she described the case at one point was as a Rubik’s Cube. So I really tried to visualize the imagery she created in her scripts. On top of that, I think radio is actually a very visual medium. It forces you to picture things and imagine how stuff looks. Like Leakin Park [a key setting in the podcast] – everyone who listened to the podcast has an imagine in their head of what it looked like. So I’d like to think it’s similar to scoring a film – it’s just the imagery is in your head instead of on a screen.

MarkP agam

6.) Aside from being a musician, you describe yourself as a “sound editor/designer/mixer” – tell us a little bit about your public radio experience and how you came to make working with media and music a full-time job.

I guess I’ve just always loved sound and had a special relationship to it. I got into recording and layering sounds when I was 10 or so, (after I discovered the Beatles), and since then I always hoped I’d be a professional musician. But after playing live and touring a bit after college I realized I loved the writing and recording process a lot more than all the stuff that comes after making the album – basically all the stuff you have to do to have a successful band! So it seemed like I should get a job. I was obsessed with public radio so I started working for a lot of different shows as a producer and reporter. I worked with On the Media, Radiolab, Soundcheck, The Brian Lehrer Show… a lot of great programs. I learned so much about editing and narrative and surprisingly that really helped me as a musician. I learned so much about leaving space and editing out unnecessary elements and when I applied that to music it helped out tremendously. Also when scoring projects I realize now that my job is to understand the story first – well before I even think about writing music. So all that work in public radio really helps out.

7.) As an independent artist who has released music, how was your experience distributing through TuneCore?

I received a lot of requests to release the music as the season was going on but I was so busy I didn’t really think about actually doing it. Then with a week left until the final episode I thought, “Oh, I should probably do that now!” So once I finished fixing up all the tracks I wanted the album to be available for purchase in a couple days but when I checked with a TuneCore competitor they told me they wouldn’t be able to get the album up on iTunes for a month! Luckily, I called TuneCore and you guys got it up on iTunes in about 24 hours! It was amazing. Now that I know it’s so easy I’m definitely going to try to release more music. I think I’m going to release a track under my band name (Sono Oto) as a single this spring!

8.) Given the popularity of Serial, what kind of initial impact has this credit had on your career?

It’s mostly just been street-cred so far! No, I have received a lot of emails and calls to work on cool new projects already. I’m really hoping to score a feature film this year. Up until now I’ve mostly written a few pieces for this film or a few cues for that film – always as the “additional composer.” It’d be great to get an opportunity to really create the sound and musical feel for a movie like I got to do with Serial. That’s the hope for 2015. But I’ve been so busy working on Serial, an HBO film called “It’s Me, Hillary” and another great podcast called StartUp, I’m looking forward to catching up on sleep for a week or two!

9.) What kind of advice can you offer to independent artists who are looking to break into scoring for films and podcasts?

I feel like I’m still trying to figure everything out so I might not be qualified to give advice! What I’m still trying to internalize is that being great at scoring means really understanding narrative. So I’m trying to work on my storytelling chops as much as my musical chops. Also, I’d say what’s worked for me is being able to do a lot of different styles of music and being able to do a lot of different things besides music, (sound design, reporting, editing, mixing, sound effects, foley, etc..). Part of me wishes I was GREAT at one thing but being decent at a lot of different stuff has allowed me to approach each discipline with with a unique perspective and ultimately has allowed to me have a career working in music and sound. So I feel really lucky!

Be sure to learn more about Mark Phillips’ work in film, music & podcasts via his website HERE!

Interview: Video Game Composer Waterflame on Collecting YouTube Sound Recording Revenue

Where are all of our TuneCore gamers at?! The international video game community is vast, diverse, and most importantly, plugged-in. YouTube has become an incredibly important platform for gamers all over the world to share tutorials, favorite moments, game reviews, and more. In fact, according to YouTube analytics experts Tubular, gaming content makes up 15% of all videos uploaded on YouTube!

Why is this important? Well, these videos often feature music from independent artists just like you! And while you may not be a fan of those pesky ads that get placed on YouTube vids, consider this: TuneCore’s YouTube Sound Recording revenue collection service makes sure artists are getting their fair cut!

Given that this service is relatively new, some artists (and their fans) had questions about YouTube putting claims on their music, often interfering with users trying to use their music on their channels. We interviewed Oslo, Norway-based video game composer Waterflame, who has found success using TuneCore’s YouTube Sound Recording revenue collection service and has gone out of his way to educate fans in the gamer community about YouTube claims. Wateflame is an exceptional example of a hardworking artist who encourages fans to use his music for their projects, with a system in place to collect sound recording revenue from YouTube!

Tell us about how you got into composing music for video games.

Waterflame: It started off as a hobby, just something I did for fun because I enjoyed it. I am self-taught, and made music in my spare time, (after work or school). I started sharing my music online, and I gained a following after a little while. People seemed to like my video game-inspired music. The following grew and I got better at what I did, and a few years later I started getting emails with job offers. It just snowballed from there. Today, most of my income comes from music jobs, album sales and YouTube ad revenue.

How competitive is this market? How do you market your skills for hire?

I might be one of the lucky few who has never had to ask for music work. I have been getting job offers sent to me in most cases. I think this is because I choose to market my skills by sharing almost everything I do with the video game/YouTube community.

I let people listen to and download 90% my music for free, and use it in non-commercial projects. The remaining 10% includes exclusive album tracks and video game soundtracks – music that dedicated fans want. As I keep sharing my music and make more and more video game soundtracks, word goes around, I guess!

I would still say it is indeed a competitive market, though. My prices are a lot lower than many other professional video game composers. I still have to work hard for it, but I love my job. That makes it a lot easier.

Explain the gamer community’s use of YouTube and how it has developed over the years.

I have always been a gamer, and I have been close to the video game community. I feel YouTube is a big part of why video games are such a widely-accepted form of media today. People use YouTube to share great gaming moments, review games, and even do full play-through’s of games. It helps to spread the word.

Due to the revenue systems and partnership programs YouTube has developed over the years, people can even get to the point where playing games becomes their main source of income. Now, it is almost impossible to browse YouTube without tripping over a game-play video, and if you are not into games, you might be after you watch a few of them!

The amount of time spent viewing gaming videos has jumped significantly – how does it affect those wishing to use your music in their videos?

As long as I am credited and linked back to properly, I will still carry on as usual and let anyone use my music on YouTube that wants to. Videos with my music in them in which the game company owns the exclusive rights to the music, however, is something I have nothing to do with. They decide if this is OK to use or not. However In other cases where I am still the copyright holder to a track, users need to ask me for permission.

So the jump in views will not affect the people using my music. It will just affect me, since I have to keep track of all of it.

What factors went into your decision to sign up with the TuneCore YouTube Sound Recording Revenue collection service?

I noticed that I could not possibly have control over this myself anymore. I needed some help with making sure I get what I deserve for my work – for sharing it and letting other people use it.

I also realized it helps me collect a portion of the revenue when I let someone else use my music – and that is a wonderful option to have. Before this service I would have to decide whether or not I was going to let someone use my music, and I knew I would not get any cut of the revenue. I felt there was no easily implemented system for me to do so without using my entire work day managing it.

How has the TuneCore YouTube Sound Recording Revenue collection service impacted your day-to-day work?

I have not been using this service for a long time, but so far it seems to make my job a lot easier. It has helped me regain some control over my productions floating around everywhere online. So I will continue to use it for sure.

Do you feel that TuneCore YouTube Sound Recording Revenue collection service has improved the way you collect revenue from ads placed on videos using your music?

Before this service, I had no way of doing this. I found it too complicated. So yes, definitely!

What kind of relationships have you developed with the gaming community when it comes to creating new works on YouTube?

I try to talk to my fan base as much as I can, and I meet a lot of interesting and talented people because of this. I have made friends and connections in all game-related categories. Programmers, artists, musicians. etc. I also feel it is a very direct way to talk to people that like to listen to my music.

What do you think are some of the biggest challenges facing composers when it comes to YouTube copyright claims?

Being a composer rather than a traditional music artist is a challenge when sharing your music, definitely. This is due to the fact that your music appears in video game YouTube videos and is often used for many other things as well.

One of the biggest challenges comes in to play when someone plays a game with your music already in it, and you still hold the copyright to that music. It can be hard to decide where to draw the line for what is OK use and what is not. I think some people might feel cheated when they have to ask for permission to use a song that is featured in a game-play video from a game they already paid for and own.

In some cases, this is because the company that released the video game paid for the commercial rights for those tracks to use them in that game and that game alone, along with the rights to showcase that game in any other way commercially. But the YouTube user displaying that game is making commercial revenue from a song that is not licensed for that use by that person. 
This is something I feel some people overlook.

Regardless, I am still all for sharing everything I make, and will continue to let people use my music in all kinds of projects. This is why the TuneCore YouTube Sound Recording Revenue collection service is great. It collects the revenue they should be paying for commercial use of that song – and in my book that makes us even!

Artist Spotlight: Ava Anderson

From time to time we like to share an inside look at one of our TuneCore Artist’s career, growth and aspirations. As you well know, the TuneCore Community is home to artists of all genres and career levels, ranging from hobbyist songwriters to full-time touring bands & MCs!

Kicking off the new year, we got the chance to interview New York City-based Ava Anderson who writes fun, energetic and relatable indie rock tunes. She’s an inspiration to some of our younger artists – at only 21, she’s been writing, recording and performing for almost a decade. Ava broke the glass of the typical college student scenario by making the decision to leave business school and pursue an education – and her dream – at the renowned Berklee College of Music in Boston. Read more about her musical journey thus far below!

When did you start performing & recording?

Ava Anderson: My musical life started with piano lessons as a foundation. When I got interested in guitar, I taught myself. Without my own computer and little access to the Internet at that time, I went to the local music store near my hometown, Oldwick, New Jersey, and bought a basic book on guitar chords. Prior to this I would just play a really simplified version of barre chords to get the sound I wanted.  This is what I did when I performed for an audience for the first time, at 12-years old for about 500 people at my school talent show.  That was also the most nerve-racking day of my life; even my legs were shaking.  A couple of Christmases and one electric guitar later, my parents bought me my first acoustic-electric Takamine guitar, which I still own.

By the time I was 13, I recorded my first EP at Gotham Inc. in New Jersey (Gotham created, produced, and performed all of the American Idol music intros and exits. The owners were writing a musical at the time). Sitting in the booth with headphones on, surrounded by fancy equipment, I must admit I felt pretty awesome. I played guitar and sang two original songs.  Months later, my family and I relocated to North Carolina where I tried to make a name for myself and made some very loyal and supportive friends.  During our four years there, I recorded a second EP, again with two songs, that had more of a “rock” sound. I arranged all parts and sang all vocals and played rhythm guitar parts.  I performed at many school events and festivals before moving to New York.  Coming into high school as a new student, and as a junior no less was nothing close to easy. I had come from a completely different part of the country in terms of lifestyle, so New York definitely kicked my ass. Making friends was hard but I still had some fun, and performed at pep rallies and town festivals, even in the bitter New York cold when I couldn’t feel my fingers. I’ve been doing my own thing for the most part ever since I moved to New York – I’ve also been alone a lot in terms of performing, writing, and making things happen for myself musically.

How have you generated your fan base? Have any tips for new artists?

Generating a fan base is a lot easier said than done, especially in New York. These days I do the best I can with using social networking to my advantage.  I have a lot of extremely wonderful fans, including everyone who has followed me from the beginning, to the ones who just heard me on Internet radio.  I think it’s really important to work as hard as you can by acknowledging your fans, because no artist would be anywhere without them. Especially if you’re just starting out – I’ve been at this for almost ten years and I still give albums away for free sometimes.

At this phase in your career, what is most important to you?

At this point of my career, I have a totally different head on my shoulders than I did when I was 18, or 16, or 14-years old.  If you asked me then, my answer would be “become a famous rock star” every time.  Now, I write music for myself, but even more for my fans and people of the world.  There are billions of people here and the majority of us experience the same feelings at one point or another – heartbreak, happiness, depression, etc.  My goal as an artist is to make sure people understand that no one is ever really alone; there’s always a glimmer of hope.


You released music through TuneCore, how was that experience?

TuneCore has helped make all of this possible for me.  Without being able to buy my music on iTunes or stream it on Spotify, I’m sure half of my fan base wouldn’t have the opportunity to listen to my songs.

How did you come to decide to go to music school?

Finding the motivation to go back to school wasn’t easy.  When I graduated high school I went straight to college like many others. I studied business at Marymount Manhattan College in the Upper East Side of Manhattan. I wasn’t happy. I hated school and felt like I was wasting my time there.  I knew I wanted a future in the music industry, which is something I’d been so passionate about my entire life. So, I did what any rebellious teenager would do and dropped out, and got a job.

For two years I was out of school, almost two and a half now.  I knew I needed to get back but every school I applied to, even state schools, were rejecting me. I hated the idea of community college because I didn’t want to have to transfer that many times. So I decided I wanted to go to school for music. I knew I wouldn’t be focused if I were studying anything else.  Last year, I worked my ass off, and applied to Berklee College of Music. I had lost so much hope, being nearly 21-years old, and out of college for so long. My audition was terrifying, but I tried to make them see the real me. And as luck would have it, they did. Without any classical training, or much training of any kind at all, being accepted into this school is the best thing that has ever happened to me, and I can’t wait to meet all of these talented musicians and start a new life. My goals are still the same and I still have the drive for it.

What are your goals at Berklee? And post-graduation?

Obviously in a perfect world I would have my name in lights and a million screaming fans. Who wouldn’t? But that isn’t the goal anymore. The goal is to make money making music, in whatever sense that would be, whether it’s writing for other artists, working in a studio, etc. If I can make a small dent in the industry that’s gotten so twisted, I can call that success.

Will you continue to record and release your solo material while in school?

Of course while attending Berklee I hope to continue recording and releasing new material.  I’m still learning new things about the industry and music in general everyday, I am progressing as an artist and I want to share that progress with everyone.

Tell us about your live performance, and what you think makes a live show successful.

Any truly sincere musician will agree that live shows are the best part about being an artist. That’s when we get to deliver our music right there in front of you, and for a few minutes, go back to feeling how we did when we first wrote that song. The energy a (sometimes drunk) crowd gives off is sensational and unlike anything else.

Personally, I’ve struggled to get live shows. I’ve played some really awesome venues, but there’s always some kind of catch. “Sell ‘X’ amount of tickets to play, guarantee that crowd, and make sure everyone knows there’s a two drink minimum.”  Even with these obstacles I’ve still managed to perform at venues like The Bitter End, The Studio at Webster Hall, and even New York Comic Con. For the past year, I’ve had the pleasure of performing fairly regularly at an Irish pub on 2nd Avenue called Paddy Reilly’s. There’s no cover, no worrying about tickets, just really awesome cheap beer and always an amazing crowd.  That’s why I think artists individually determine what makes a successful show to them.  For me it’s just having everyone listening, cheering, seeing a familiar face or two, and having a really great Saturday night.

Be sure to check out Ava Anderson on iTunes! You can keep up with her on Facebook, Twitter, and her website, too.

Counting Down the Top 10 TuneCore Blog Posts of 2014

With only one day left in 2014, we’re looking back at some of our favorite and most widely-read blog posts of the past year. Look it as further proof that we’re not immune to “End Of Year List Fever”!

So whether you’ve been a loyal reader who wants to re-visit some articles, a fair-weather subscriber who checks in from time to time, or a new TuneCore Artist who’s just getting wise to the knowledge we spread over here at the TuneCore Blog, enjoy! 2015 promises to have more awesome content to come…

10 Ways for Musicians to Stay Healthy on the Road

Because hey, while sitting in a van & eating fast food sounds fun and all, Erin Schrode (Green Guru & Co-Founder of Teens Turning Green) offers some tips for staying healthy on tour & keeping the environment healthy too!

How Ontario-Based Artist SayWeCanFly Is Growing His Career

TuneCore Artist Braden Barrie shares his successful fan-base building process, how he books tours in Canada & the U.S., and how partnering with TuneCore for distribution & publishing administration kicked his music career to the next level.

5 Ways to Keep Momentum Going After a Music Festival

Great job – you made it onto a music festival! Erin Austin of OKSWEETHEART reminds us that just because the fun is over, it doesn’t mean you should go back home and put your feet up.

How Composer Brian Crain Unlocks Worldwide Songwriter Royalties

Got questions about how TuneCore’s Publishing Administration services can help find royalties you never knew existed? Composer Brian Crain is interviewed and shares his experiences.

How Nashville’s Sonia Leigh Is Gaining Traction as an Indie Artist

Sonia Leigh has been on a roll! (And we’re not just saying that because she hung out with us in our Nashville office…) Read this inspiring article & learn more about the country artist’s musical journey.

The Great SXSW 2014 Recap!

If you weren’t able to keep up with TuneCore at SXSW 2014 (either because you were playing it, attending shows, or slept through the whole thing), this recap is everything you need! We’re very excited for SXSW 2015 already.

10 Reasons Why Every Artist Should Be On Spotify

Let’s face it: streaming was a HUGE topic this year. Music blogger Kami Knacke breaks down what she believes to be the benefits of getting your music on streaming services like Spotify.

The State of the Music Industry According to TuneCore Artists

Every once and awhile, TuneCore offers a survey for our artists to fill out, and every time, the results are telling. Check out the results of a Fall survey and see what over 1,100 TuneCore Artists had to say about the state of the music industry in 2014.

Interview: Havoc (Mobb Deep) Releases New Album via TuneCore

You may know him from Mobb Deep, you may know him from his solo career or producing credits. Regardless, Havoc’s production, lyrical and stylistic-influences on modern hip hop are undeniable. That’s why TuneCore was psyched to distribute his latest album & snag an interview with him!

Ron Pope: How I Made $250K From Streaming

Following the turbulent subject of streaming, we shared this guest blog from TuneCore Artist Ron Pope that covers his transition from playing in the subway to touring Europe, and why he sees streaming as an integral piece of the puzzle.

End of Year Message from CEO Scott Ackerman to TuneCore Artists

[Editors Note: This article is from TuneCore CEO Scott Ackerman.]

Our artists’ success is our success. And judging by our artists’ increasing ability to get their music heard worldwide, make new fans and more revenue too, 2014 has been a great year for all of us.

Some Highlights From 2014

Congratulations to TuneCore Artists on a successful year!

  • Artists reached more fans than ever before by sharing their music on our many new store partners, including YouTube Music Key and KKBox.
  • 30% of the artists performing at SXSW, 40% at CMJ and almost 50% at A3C were part of the TuneCore community.
  • TuneCore Artists were regularly featured by store partners, including iTunes, Amazon Music and Spotify.
  • At A3C, America’s “preeminent hip-hop festival,” TuneCore artists and top producers, paired up by TuneCore, used free studio time to create new tracks during the #TuneCoreStudio Recording Sessions.
  • TuneCore artist Jeff Bernat’s song “Dream Team” was featured on the Birdman movie soundtrack after TuneCore Publishing Administration pitched his music to the movie’s music supervisors.
  • Jay Rock, via TuneCore, released the single “Pay For It (feat. Kendrick Lamar),” and performed it on Saturday Night Live.
  • Country singer Sonia Leigh, rock band The Kickback and soulful pop singer Laura Reed stopped by TuneCore’s Brooklyn office for impromptu performances.
  • TuneCore artists found new ways to produce great music, share songs, engage fans and make money through the new TuneCore Artist Services program.
  • TuneCore Artists reached a milestone. They have earned $471.5 million in revenue from 10.6 billion downloads and streams since 2006 (and that doesn’t even include activity in 4th quarter of 2014!)

Some Great Expectations for 2015

It will be an even better year for TuneCore Artists.

  • There will be even more opportunities for artists to reach new fans with the addition of new music stores.
  • Partnerships, with companies like YouTube, will help artists make more money from the music they create.
  • Artist Services will get bigger and better, with an exciting, cool new app coming in 2015 that will connect you with fans on a whole new level.
  • TuneCore has plans in the works for concerts, gigs and events that will showcase TuneCore Artists’ talents.

This year, the TuneCore community continued to grow and support each other. We’ve shared creative tips, touring advice, revenue-raising suggestions, career-building recommendations and, of course, great new music.

We celebrate your achievements! Thank you for partnering with TuneCore.

Happy New Year!

Scott Ackerman
TuneCore CEO