Category Archives: Music Publishing

Interview: Emily Fullerton on Balancing College & a Career in Music

TuneCore Artists come in all shapes and sizes: from hobbyists to full-time touring musicians, singer/songwriters and MCs to indie rockers and classical pianists. No matter how they differ, each is leading their own unique musical journey with ups and downs, struggles and opportunities. We do our best to offer a platform for different TuneCore Artists to share their stories, as we know without a doubt others in the community will relate!

Enter pop artist/songwriter Emily Fullerton. Balancing a music-focused college career and a budding music career, Emily attends Belmont University and lives in Nashville. Both the city and the school are destinations for aspiring artists, so she is not alone! Like other independent artists in her position, Emily must both complete a four-year education while building a network within a crowded music scene. She’s released her debut EP Daylight and her latest single “Take Off” via TuneCore. Emily has also been invited to be on a web series called Road To Nashville. We wanted to know how one works to use all of these experiences to complement each other, (while also maintaining some level of sanity), so we invited her to discuss it! Read more below.

Deciding to go to school for music requires commitment. When did you know for sure you wanted to pursue a career in songwriting?

Emily Fullerton: I took group guitar lessons after school when I was 10. The first songs I learned were by The Beatles. I loved it and knew I wanted to make music.

What kinds of efforts have you made during your schooling to better prepare yourself as a businessperson?

I’ve been networking like crazy. I go to Belmont University in Nashville and while you don’t have to do the academic thing to be in music, being here has really helped me make connections with people. The professors and mentors want to be there for you as a person, artist, and songwriter. They want to see you do well and they are always willing to help you out.

I’ve had some pretty cool opportunities come my way while living in Nashville and every single one was sparked by a connection from Belmont, whether it be a professor, classmate, or a friend. I don’t really like using the term ‘networking’ but that’s what it is. I believe that I’ll get to where I need to be in the business through the relationships I have with people.   

How would you compare those efforts to the experience of getting out there and gaining real life music business experience?

So far, I think it has been a balance between the classroom and ‘getting out there’. I have classes that teach me about publishers, PROs, and labels. There is a lot to learn about the business side and I want to learn as much as I can. But I also get out there and perform as much as I can. I do writers rounds at different venues in Nashville, and I have had a few opportunities to play in DC and some other events as well.

On that same note, what kind of network have you started to building in Nashville and on campus?

Like I said before, Belmont is a great school for making connections; the relationships I have made there with the professors, mentors and my friends have opened up a bunch of opportunities for me. When I was in high school, I hosted a benefit concert at the Hard Rock in DC for a school project. One of my mentors connected me with Richard On of O.A.R., and he has helped me a lot through encouragement and advice throughout this whole process. I guess I have been building the network since I really started getting serious, and Belmont and Nashville have been huge catalysts. But I got started on the right path with help from Richard and a few others.

Emily & Richard On of O.A.R.

What were your expectations of a city like Nashville? Were there any misconceptions?

Coming from Washington, DC, my definition of a city is very different from Nashville. I didn’t quite understand how different life would be like without a major metro system or a lot of diversity, (whether that’s ethnically, economically, or politically). I knew that Nashville was going to be an amazing place for me to grow as an artist and songwriter. I wasn’t wrong about that. I was wrong about how different life in Nashville would be compared to DC. I’m a city girl at heart: I love walking everywhere, dealing with the crazies on the street, and that fast paced environment you feel when you’re in a city like DC.

Nashville is a great place, it’s the pace that’s different. I have to say I am still learning how to adjust to these things. There is something very magical about the “laid back-ness” of the south. People are so nice to you. That “southern hospitality” is real. They claim that DC is still the south but people aren’t as nice there as they are in Nashville. I’m glad that I have had the chance to make Nashville a part of my journey. It’s such a vibrant and cool place for an artist and songwriter to learn and grow.

Have you found mentors and resources for inspiration in a city buzzing with likeminded musicians? Or is there a competitive nature to the scene?

I think going after a career in music puts you in a lot of sink-or-swim situations. You’re either going to crumble under the pressure to be different and talented, or you’re going to hustle and be yourself throughout the entire process. Yes, there is a competitive nature in Nashville and at Belmont, but it’s nothing compared to what I’ve heard about L.A. or New York.

One of the most inspiring parts of my Nashville experience has been going to songwriting class at school. I’m not sure why, but there is something that seems so powerful to me about a group of young aspiring songwriters who are all committed to helping each other grow. It’s magical, heartbreaking, and encouraging all at the same time.

How did you discover TuneCore, and how has it played into your overall musical journey?

I discovered TuneCore during the summer of 2013. One of my favorite producers from the D.M.V. area, Mark Williams at Sucker Punch Recording Co., told me about TuneCore. A lot of artists and bands he had worked with used it, so I checked it out. It has been a great and easy way to get my music out there. As an independent artist, the process of creating and sharing one’s music can be very intimidating, but TuneCore helps simplify the process.

Tell us about Road To Nashville and your experience on the web series.

Road To Nashville is a reality web series on AwesomenessTV based on the lives of five singer/songwriters in Nashville. I was one of the five featured cast members and let me tell you, it was a blast. The entire process of being on a web show was incredible. From the audition to the last episode, I feel like I learned so much from the experience. I learned how to be comfortable in front of the camera, how I wanted to be perceived as an artist on camera (including how I did my makeup, hair, wardrobe etc.), and I also got to meet some pretty cool people along the way.

During the entire filming of the show, we had a vocal coach, live performances, studio time, and interview sessions. This is one of those opportunities that I came across through a connection with a former Belmont student. I didn’t even know exactly what I was auditioning for when I got there because it was such a last minute thing, but it ended up working out in a pretty cool way.

What advice would you offer to a high school or college aged songwriter considering enrolling in a program like the one you’re in?

I would say make sure that music is your ultimate passion. Music programs are competitive and the business is even more competitive. If you feel like this is what you’re meant to do, no one can stop you, but many will try to. Work hard, don’t get discouraged, and be ready for the challenges and rejection. This sounds pretty harsh but it’s true. College is an investment no matter what, it’s a student’s responsibility to get as much out of it personally, artistically, and socially as possible.

Take advantage of the programs your school has but also take advantage of the city that you’re living in. I still have to tell myself over and over again that every song I write will not be good. Every live performance will not be flawless. It’s okay. These opportunities are designed to build and nurture you. I’ve had an amazing experience so far; attending a music school is a great place to start if you’re looking to become an artist, songwriter, or any part of the music industry.

TuneCore Sync Placements in Q2 2015

You probably already know TuneCore is about more than just selling your music online. On top of our suite of Artist Services, we’re continually building on our Music Publishing Administration services. Helping independent artists collect royalties transparently is rewarding – we love knowing that this revenue is allowing musicians and songwriters of all genres continue their musical journey.

Additionally, we’re extremely proud of our TuneCore Artists who get their music out to the world in the form of synchronization licensing. From TV shows and movies to video games and advertisements, sync placements are one of the most sought-after successes among independent artists. That’s why moving forward, in an effort to celebrate and showcase these licenses, we’ll be sharing highlights from each quarter here on the TuneCore Blog! If you’ve been interested in TuneCore’s Music Publishing Administration, peruse through these placements to see what our team has been up to:

Furious 7
Song Title: “Hamdulilah”
Writer: Yassin Alsalman
Artist: The Narcy featuring Shadia Mansour

Huggies Diapers (Commercial)
Song Title: “Hug (We All Need a Hug)”
Writer/Artist: Ben Sands

Better Call Saul
Song Title: “Milestones”
Writer: Jasper Wijnands
Artist: Shook

Batkid Begins (Trailer)
Song Title: “The Aviators”
Writer/Artist: Helen Jane-Long

Focus (Trailer)
Song Title: “Lisboa Mulata”
Writer: Pedro Goncalves
Artist: Dead Combo

American Idol
Song Title: “When the Moment Comes”
Writer: Erin Sidney
Artist: Mia Dyson

Once Upon a Time
Song Title: “Black Wolf’s Inn”
Writer/Artist: Derek Fiechter

Monday Night Football
Song Title: “Diamonds”
Writers: Joel Bruyere, Christopher Greenwood, Trevor McNevan
Artist: Manafest featuring Trevor McNevan

Song Title: “Close Your Eyes”
Writer: Jesse Cafiero
Artist: Split Screens

Criminal Minds
Song Title: “Ghosts In Control”
Writer: Braden Palmer
Artist: Detuned Kytes

NCIS: New Orleans
Song Title: “Winning”
Writer: Deandre Way
Artist: Soulja Boy

Song Title: “Fascination of You”
Writer: Darron Grose
Artist: John Turk

Song Title: “Thunder In Your Heart”
Writer: Lenny Macaluso
Artist: Stan Bush

Rob Dyrdek’s Fantasy Factory
Song Title: “Static”
Writers: Matthew Duda, Patrick Duda
Artist: Packy

Song Title: “Status Update”
Writer: Thomas Sturm
Artist: SsasS

Interview: Braden Palmer Discusses Licensing for TV & More

Braden Palmer has been led an interesting and busy life in the music industry. Growing up in a family of musicians and falling in love with rock music at an early age, the Minnesota-native’s talents have taken him everywhere from Snoop Dogg’s studio, to scoring films in LA, and back to his home state where he runs his own label.

Having used TuneCore for both Distribution and Music Publishing Administration, Palmer has had to learn first hand how to build a network and run his own business. With the help of TuneCore and his project, Detuned Kytes, he was able to enjoy a recent sync license placement on the season finale of the hit CBS crime drama Criminal Minds. We got a chance to chat with Braden about his career, his influences, licensing and more:

When did you know you wanted to begin creating music?

As far back as I can remember.  I grew up in a musical family, so I started performing as early as nine years old and recorded my first album at the age of 12.  Creating and writing music has been the main outlet for me for most of my life.

Tell us about your initial entrance to the music industry and your involvement in hip hop.

I had been recording for several years in my bedroom as a young kid and after graduating high school I started my first ‘real’ music project called Detuned Kytes – I wrote and recorded a full album called Everything Is Gone, which was a limited product. I only had 1,000 copies printed and released and will most likely never re-release it, but in 2009 I decided to fully start my own record label, StuckHog Studios; I turned a machine barn on my family farm into an official recording studio.

Within the first year of having a ‘real’ place to record in, I wrote and produced two more full Detuned Kytes albums and began doing musical scores for film soundtracks.  By the year 2012 I had released five full-length Detuned Kytes albums and had been producing music for several hip hop artists based out of Minneapolis, MN.  Once I tapped into my ability of producing hip hop, I met Baby Eazy-E, (son of Eric ‘Eazy-E’ Wright, founder of N.W.A). I eventually became really good friends with him and decided it was time to move to Los Angeles to really pursue a larger step in my career. Two weeks after moving to L.A. I found myself in Snoop Dogg’s recording studio working with legendary L.A. producer DJ Battlecat.

Given the way you’ve moved within the industry, when was it that publishing became something you needed to learn about? What attracted you to TuneCore Publishing Administration? 

Music is my passion, but with most things that are taken seriously and looked at as a potential career, there are business needs that must be met.  Once I officially had the idea and products for StuckHog Studios under my belt, I needed to take the correct business steps as well. Copyrighting, trademarking, incorporating, etc. – I never understood publishing very well until I was absolutely forced to.  Like most things in the universe, if you’re open to learning about it and feel a sense of urgency, the perfect tools come unexpectedly to help move things forward.

I had finished most vital business steps and needed to figure out publishing when I received an update from TuneCore about their Music Publishing Administration offering.  Since I have always remained independent, this offer seemed like something that was necessary without having to involve several other parties and/or companies with extra fees.  TuneCore helped keep it simple and efficient, only asking for a proposed 10% for publishing deals once made as an administrator.

What advice do you have for indie artists like yourself when it comes to music publishing and getting a better understanding of it all? 

Do your research.  Read blogs, articles and visit numerous publishing company websites; really get a full understanding of what it involves and how to avoid problematic outcomes.  If you are involved in a contractual agreement, really look through it thoroughly and if you don’t understand it, legal help may be necessary. A small fee here or there will save major headache in terms of dealing with lawsuits.

If you’re truly considering making music your career and you know full-heartedly that it is possible, publishing WILL need to happen at some point.  It’s great if you can just be an artist and have managers or a label that handles most of the grunt work.  But in my case, I am completely independent so not only am I the artist, I have to be the business man, too.

How important has it been to be able to collect all the royalties owed to you?

Royalties and other TuneCore offers have helped me pinpoint exactly what is most effective when writing/releasing.  Each project I’ve worked on has a multitude of different outcomes.  For years I simply released an album and let it do its work. It spreads on its own until larger opportunities come and catapult it towards more success. As long as you believe in your art, it may only have a couple downloads a month, but always stay determined and confident that everything will pay off. Eventually it does if you continue to work hard.

Tell us about how it feels to land a sync placement on a major television series. 

It was a great feeling to receive this opportunity.  I have written several scores for film soundtracks, but never something for a major network (CBS) with such an outreach.

How has your career been impacted by having your song featured on Criminal Minds

My career has suddenly taken a more serious turn.  People who never knew I was making music, or those who knew but never took it seriously, are now suddenly looking more closely.  My fan base has grown and since the airing of the season finale, I have received a lot of publicity and a number of amazing opportunities.  It definitely gave me the extra push I was needing.  It came at the perfect time.

Between your two current projects, Detuned Kytes & LaHa, what inspires to you to write songs?

Everyday life and occurrences inspire me most. As humans we have good days, bad days, down days and surreal days, so I gather from all experiences and environments and write according to how I truly feel and how I think the listener could relate.  Some songs are personal and others are simply for experimenting with other realities. I’ve never been able to stick to just one way of writing or one style.  I’m always in search of different styles, sounds and recording methods.  Detuned Kytes represents how quickly I change from genre to genre.  One day I feel like writing industrial metal and the next I feel like writing Stevie Wonder type love songs, or sometimes just making noise until it structures itself into something cool.

I’m constantly trying to match a sound with a feeling, tapping into what the music feels like or what the music makes me feel like.  It’s part of me. As for LaHa, its a more personal, relatable project that is much more marketable and mainstream.  I think LaHa expresses the maturity and musical knowledge I have gained in the last ten years.

Tell us about the decision to move from L.A. back to your home state of Minnesota.

I decided to move to L.A. for a year and see where it took me. When the year was up, I just simply packed up and headed back home to take the knowledge I had gained and put it to use in my new outlook.  I love L.A. and all of its creative energy, but I’m really a quiet, independent person who needs grounding and peaceful surroundings in order to fully comprehend my actions and future decisions.

Although there are plenty of recording studios and opportunity in Los Angeles, I still really wanted to build a new, bigger and better StuckHog recording studio and pick up where I left off and really take the next step.  Minnesota has a really great music scene and I feel like I could really reveal that to the rest of the world.  Being a local, I felt the need to stay home and stay closest to my roots.

While they may be different for each project, what do you credit as some of your biggest musical influences?

The first album I ever got from my older brother was Nevermind by Nirvana. Being about five or six years old, I remember having a cardboard cut-out of a guitar and lip-syncing the entire album out my bedroom window, imagining a sea of people in my driveway.

One major artist that I respect in every way and broadened my outlook on music was Trent Reznor of Nine Inch Nails. Further Down The Spiral was the first album I bought with my own money one day while shopping with my dad at a local record store.  I went home, popped it in and it changed my life instantly. From that moment on I bought, wore, watched, lived and breathed everything NIN.  Once I saw NIN live, there was no doubt in my mind that I absolutely needed to make music for the rest of my life, and [Trent] really taught me a lot about staying true to myself, staying creative and expressing the importance of art.

Depeche Mode was another major influence on me.  Dave Gahan and Martin Gore’s chemistry is so special. Their darkness and spirituality through noise captivated me as a youth and really gave me something to relate to. Other influences include Jim Morrison, Pink Floyd, The Beatles, Stevie Wonder, Ministry, Jane’s Addiction, Radiohead, The Beach Boys, The Eagles and many more.

Beyond the sync placement, how else has TuneCore been a part of your musical journey?

TuneCore has helped me in many ways.  The most important thing I had to figure out when starting StuckHog Studios was how I was going to distribute and make [my music] available digitally all over the web.  There are several companies I considered using at the time, but TuneCore seemed the most advanced and user-friendly.  Once I joined, I could then release albums through iTunes which was major, because it helped get my music to places that I couldn’t do on my own.  TuneCore is always offering new services, stores and features that keep them relevant to fans and the artists. Not only does TuneCore help me get my music out there, they’re helping me get paid for it as well, haha!

Got any big plans for the rest of 2015/early 2016?

The next year will be another busy one, but an important one for the rest of my career.  I feel like this is the year that my music is taking another step towards greater success.  I will be releasing the debut LaHa album entitled Barbaric Minds of Future Times, a new Detuned Kytes album called Broken News, shooting several music videos for both projects and really concentrating on taking the entire experience live and begin performing a lot more. I’ve been working with many hip hop artists, too.  Laying a good foundation for future producing projects.  I plan on keeping StuckHog Studios growing in the direction of what I’ve always dreamed of it being and continuing to allow the freedom of creation from project to project.

Latest News From TuneCore Music Publishing

Greetings from Burbank! We’re popping in mid-month to give you the latest happenings from our Music Publishing Administration office – songwriter highlights, sync and creative, placements and news. Check out below what we’ve been up to, and if you haven’t looked into what TuneCore has to offer, read more about our Music Publishing Administration services!


Former Stars of Track and Field front man, Kevin Calaba, formed AirLands in 2014. Calaba collaborated with producer airlandsTony Lash (Elliot Smith, The Dandy Warhols) and drummer Benjamin Weikel (Modest Mouse, The Hello Sequence) to create AirLands’ self-titled debut album which was released earlier this year.

Airlands’ lead single, “Love & Exhale”, quickly gained momentum and was featured on Google Play’s Antenna Sampler as well as Spotify’s New Music Tuesday. With their Peter Gabriel-meets-Bon Iver-meets-The National vibe, this atmospheric post-indie band frequently play shows around the Brooklyn area and have attracted a strong New York fan base.

Throughout singer/songwriter Ari Hest’s impressive 15 year career he has released eight albums and three EPs. After leaving Columbia ari_hestRecords, Hest started a project entitled “52” where he released a new song every Monday for a year. Additionally, Hest scored the film, DreamRiders, in 2008.

Hest has toured the world, as a headliner and opener for artists such as Ani DiFranco and Suzanne Vega. Currently, he has several tour dates booked nationwide including dates with his Brazilian music inspired side project, Bluebirds of Paradise.


In addition to our Sync & Master Licensing Database, our creative team continuously works to place TuneCore administered copyrights across all visual media. Recent pitches include music for several TV shows including Quantico and The Catch, a video game trailer for Trial Fusions, and Dirty Grandpa starring Zac Efron.


am_idol-1American Idol
“When The Moment Comes”
Writer: Erin Sydney
Artist: Mia Dyson


huggiesHuggies Diapers
“Hug (Everybody Needs a Hug)”
Writer: Ben Sands
Artist: Ben Sands


focus-1Focus (Trailer)
“Misboa Mulata”
Writer: Pedro Goncalves
Artist: Dead Combo



TuneCore stays current on industry news to make sure we’re the first to know how new legislation and deals will affect our writers. Here are links to recent articles you need to know about:

From Around The Web:
Judge Explains Why Pandora Must Pay 2.5 Percent of Revenue to BMI

From the TuneCore Blog:
Interview: Music Supervisor Amanda Krieg Thomas Talks Sync Licensing

TuneCore Partners With TapInfluence: Helping Artists Connect With Brands

#TCVideoFriday: June 12, 2015

We wouldn’t call ourselves superstitious, but on occasion we’ll avoid walking under ladders and opening umbrellas indoors. In relief that this month narrowly avoided a ‘Friday the 13th’ by just one day, we’re choosing to celebrate with a dope round-up of videos from TuneCore Artists! Enjoy.

Violet Chachki, “Bettie”

DREAMERS, “Wolves”

Narcy, “Rise”

Fractures, “It’s Alright”

Tired Lion, “I Don’t Think You Like Me”

Dylan Dauzat, “Kickin It”

Ariana Delawari, “We Came Home”

Angel Snow, “Secret”

Jared Evan, “The Art Form (ft. Stella)”

Tish Hyman, “Subway Art”


Interview: Music Supervisor Amanda Krieg Thomas Talks Sync Licensing

When it comes to the music industry, one of its most complicated and often confused components is publishing and licensing. Mechanical royalties, neighboring rights, performance rights organizations – for independent artists, it can seem like one big gray area!

While TuneCore Music Publishing Administration is here to help you collect worldwide royalties and answer questions, we know that one of the most tantalizing aspects of publishing is landing synchronization licenses – or in other words, getting your music placed in movies, television shows, ads, and video games. The notion of ‘selling out’ has become a relatively antiquated term for artists who want to get heard and make money.

Each month, we catch our readers up on our pitching efforts and license placements for TuneCore Artists/songwriters, but to give you closer look into the world of ‘synch’ licenses, we interviewed accomplished music supervisor Amanda Krieg Thomas (Format Entertainment). Amanda works with directors, producers and artists on a daily basis and has coordinated/supervised music on projects like Pitch Perfect 1 & 2 (Universal), Fake Off (TruTV), Grace Stirs Up Success (American Girl/Mattel), The Other Woman (Fox), and Beyond The Lights (BET), and has placed TuneCore Artists’ music. Enjoy and take notes, TuneCore Artists!

What led you to pursuing a career as a music supervisor? 

Amanda Thomas: I kind of fell into it – I moved out to L.A. to pursue writing and producing, film, TV, etc. I took a job assisting the music attorney at Lionsgate with the idea that if I learned this part of filmmaking, it’d lead to other things. I did that for over a year, working with contracts and legal, and I’m so grateful to have gotten that nuts-and-bolts knowledge. I was about to leave music because I realized I didn’t want to do just the legal side, and I didn’t know if I could work on the creative side, you know, I loved music, but I wasn’t a ‘musical savant’ or anything. That’s when I got the opportunity to work assisting the Head of Film Music.

I remember we were working on a search for a movie, we were pitching all sorts of stuff, and the director had lots of ideas. I remember being in her office and her saying, “These are funny, but what would the character really listen to in this moment?” And it just clicked for me – this idea of character and story, and telling that story with music. I had studied theater and film, and I worked on a lot of musicals, so storytelling with music really resonated with me. That’s when I decided that this is what I wanted to do.

What kinds of relationships have been vital to build on both the music business side and film/TV/advertising side?

Pretty much ‘all of the above.’ I’m the type of person who says ‘yes,’ especially when it comes to meeting people. It’s made my life easier to be friends with people sending and pitching me music – it’s always saved my life. The publishers, people at labels – the joy of collaborating with people I like and respect is a big part of why I want to stay in this career field. There’s a strong sense of community.

But on the other side, the key relationships are definitely the people who are making content – films, TV shows – it’s really those people who hire me. Overall, you never know what is the relationship that’s going to get you the furthest and pay off. Be friends with everyone, and be grateful, because you never know where that amazing opportunity is going to come from.

Given your well-rounded resume of television and film, has there been a project that stands out as your favorite?

For me, there are projects that I was proud to be apart for slightly different reasons. Pitch Perfect 2 is a project I was a member of the music team for. The Pitch Perfect films are probably the biggest projects I’ve been involved in. They really valued everyone’s ideas and it was a very collaborative environment.

Also recently premiered is a TV show I worked on for 7 weeks in Georgia called “Fake Off” (TruTV). It was totally out of my comfort zone and also a combination of my weird skill sets: it was basically performance, illusion, theater and storytelling. I oversaw the creation of the tracks the teams performed to, which were largely combinations of existing instrumentals from production music libraries, crafted together into cohesive, 90-second, performance pieces. It was an amazing experience and I got to work with really cool people.

Aside from value and/or ‘buzz’ factor, what are some of the benefits of placing music by unsigned or independent artists?

Budget is certainly big. I’m still building relationships so I still work on plenty of low-budget projects. Personally, the feeling when you find an amazing new artist and the excitement when presenting to a director is great. While it’s obviously fun to place an artist I love, I don’t start with that.

I start with what the director’s priorities are – so it’s refreshing when directors are excited about lesser-known music, from a creative standpoint. Some directors get really jazzed about the unknown artists or songs no one has heard of, but some just want what they know and like.

What are some of the most common mistakes you see independent artists make when they want to approach or pitch to a music supervisor?

That could be a whole other article! First thing I’ll say is you’re always going to be better served having someone else pitch your music with those relationships in place. Focus your energy not on cold calling/email music supervisors and studio executives; focus your energy on researching the right opportunities and people who can get your music where it needs to be. It’s so much more effective to find the right team and partnerships.

It’s not a ‘common mistake,’ but I would say be open to low-budget projects. I know it’s tough because you don’t want to give music away for free (really you shouldn’t have to, again another article) – it’s a personal decision – just make sure to evaluate the big picture. Is that music supervisor working on a lot of projects? Is the long-term relationship worth it? Personally, if I’m dealing with an artist directly, I’ll remember if someone does me a solid, and I’ll call them again.

One mistake is that people get pushy and ask for a lot of feedback or follow up every week. Those are two things that make me cringe. In terms of feedback, I’m listening to it for the most part basing it on what I need at that point, so I don’t have time nor do I feel qualified to provide that. Also, research is appreciated. At least be aware of what a supervisor has worked on. You’re being polite and showing that you’ve done your homework.

How do you discover new music on your own time?

I always feel so backed-up in what I get sent, that even when I get artists and albums that come through that make me say, “Oh my God I wanna listen to that!” – it still takes plenty of time to get there. I have a lot of friends in PR or music journalism, so I tend to listen to them a lot in terms of keeping my eyes out. They’re the ones who can predict whose going to break. I love having them in my life. They’re the ones who are plugged in on who people will be talking about. Twitter also comes in handy for this; when I see an artist name pop up again and again I pay closer attention. I also discover openers I haven’t heard of and try to get to shows early when I can. It’s those fun, unexpected, discoveries that make this job exciting.