Hello all.

I’m an anonymous musician running strictly under an pseudonym, maintaing a distance between the musical identity and my real identity, at least on the public facing of the internet. I’ve been able to hide my identity entirely in the public-end with music distribution but have some issues with music publishing.

I’ve wanted to look into publishing my works as my music project has gotten more serious over the years, I’ve just been so unsure as public work searches of these music publishing groups do contain real names from artists who present entirely under an pseudonym.

I am wondering if anyone (particularly Australian, as I am also Australian) is also an artist strictly under an anonymous pseudonym who has some experience with this. I want to make sure I am doing everything right to ensure my real identity doesn’t slip past with my pseudonym when I am registering my works. I am in understanding that I still have to provide my legal identity to a music publishing group for compliance and tax purposes, I am all for that behind the scenes, it’s more about what’s attached to me publicly.

Thank you! :)

P.S Any other advice is also appreciated, always open to learning something new!

layoffs? 4 qtr shake up?

A venture idea I had, please share what you think about:

Independent music artists often struggle to secure funding for their projects, especially when they’re starting out. The only available options are usually through predatory record labels, bank loans, or community support platforms (i.e. Patreon, bandcamp, etc) which often require you to already have proven success. This leaves very little room for newer artists to break through in the modern music industry because of their limited capital.

My proposed venture would be to create a micro investment marketplace for shares in a music artist’s streaming royalties native on Spotify/DSPs. This would give fans of music artists the ability to support them as fans, grow with them by investing into their success, and allow the artist to operate with less creative restrictions while having financial support.

I’m not married to this idea (I made it for a class project, but I became passionate about it), so feel free to tackle this openly. If you challenge it, I challenge you to also give ways to make this a viable solution to a big problem in the music industry right now.

For context I’m a recent uni graduate in history who’s undertaking an internship at my former unis events and concerts team doing operations and administration, essentially handling artist communication and advancing along with managing some if the smaller events. Ive also done some other interning in general event planning and research stuff.

I’m looking at trying to get work at a record label possibly, I’ve always loved music and now that I’ve landed this internship it feels like a really good opportunity but I’m not sure what sorts of roles would be best suited for me.

If anyone has any advice I’d really appreciate it, just something to help me plan out my next steps.

I currently manage 9 artists and have another 5 planned, and I’m looking to move towards a boutique distribution model rather than operating like a traditional record label.

My main goal is pretty simple: I don’t want to take huge cuts from my artists through 70/30, 80/20, etc. deals. I’d rather get a good distribution deal myself and pass as much of the revenue back to the artists as possible.
I also don’t want to take anything from publishing. The idea is that I provide the infrastructure, distribution, pitching/marketing support, artwork, etc., while the artists retain as much ownership and revenue as possible.

I’ve been looking at **Revelator** and **LabelGrid**, but I’ve seen quite mixed opinions about both and I’m not sure which direction makes the most sense.
For anyone actually running a small/ boutique distribution company:

What platform are you using?
Are Revelator or LabelGrid worth considering?
Are there any other serious white-label/B2B distribution platforms I should look at?
How do the economics usually work?
Is it realistic to operate this way with a roster of \~10–15 artists?
I’m not looking to build a huge distributor. I’d rather have a small, curated roster and offer artists a much fairer deal than a traditional label.

Would really appreciate advice from people who are actually in the distribution business.

Hi I’ve recently started working as an artist manager and I’ve been struggling with work so i js needed some tips or advices from people in the industry
For the following questions

1 how do i grow their social media?
How do i get them shows and gigs?
How do i get them deals?
How do i make people actually listen to them as how do i reach a large audience ?

I am an independent artist and 9-5 behind the scenes living in Prague. The city has great musicians however no sort of aim or visionary spaces to move people.

Currently I am in such community that has a lot of potential and there is an existing venue I can transform. This is a fairly known venue in between musicians and alternative people. It has an underground vibe that I don’t want to rip off completely; but I am imagining of moving it towards more “mainstream” changes by renting it to different events etc.

I will be in charge of the creative structure and strategy; however I don’t have experience in such field.

What advices and ideas you could give from your experience for such change?

I've been making music since 2014, when I was 11. I started taking it more seriously around 2016. For most of my music career (if you can even call it one), I've mostly made hip hop, usually boom-bap beats and lyrical rap. I stopped making music when I was 17, mainly because I wasn't having fun anymore, and other things, particularly school, got in the way. I later went to film school, but I've been trying to get back into music for the past two years.

I'm pretty experienced with music production. I've been using Logic Pro for over a decade, and I'm an expert with it. I've experimented with different genres over the years, including pop, electronic, house, R&B, and I even went through a vaporwave phase. In the past few years, I've also been listening to a wider variety of music, particularly pop and rock. Tbh I don't listen to as much rap as I used to. Back in high school, I was constantly listening to new rap albums, but not anymore.

Originally, I was thinking of making rap music that blends pop, rock, or something else. Maybe rapping over pop or rock beats, or just singing instead. But now I'm not even sure if rap should still be my main genre, or a genre at all.

I still enjoy rapping every now and then, whether it's to old stuff of mine or to someone else's song, but sometimes I wonder if I'm just refusing to grow out of something I did as a teenager. Part of me worries about how people who knew me back then would perceive me if they heard me rapping today. At the same time, I feel like abandoning rap would mean wasting potential.

I've considered singing as well, but I don't like how my voice sounds when recording, even with Auto-Tune. I might take singing lessons again someday, but that's another thing I'd have to work through.

Another factor is commercial success. When I was younger, I used to release music online all the time, not caring about what was trendy, just doing me while still dreaming of being famous. But I barely got any plays, and I was constantly questioning what I was doing wrong. I think that experience still affects me today. Even now when I make a cool beat, I start wondering who would actually listen to it, what the concept of the song would be, whether I really wanna commit to that sound, or whether there's something else worth exploring.

I want my music to reflect who I am, and the visual side of being an artist is also extremely important to me. But I have so many different musical and artistic directions in mind that I can't settle on one. And I don't wanna come off as lazy, but sometimes I think I'm more excited about the idea of being a particular kind of artist than the actual process of making that music.

I know artists don't have to limit themselves to one genre, and I'm not saying I wanna make the same kind of music for the rest of my life. I just wanna settle on one direction for now, build from there, and explore other styles later depending on where life takes me. I wanna start releasing music within the next month or two, ideally two singles and then start recording an EP, while gradually building an audience.

The problem is that I've already spent years experimenting, and I still can't decide. Even when I make something I like, I'm never 100% sure it's what I wanna pursue. I'm worried about choosing something that doesn't fulfill me creatively, but I also don't wanna face the same pattern of making something and nobody listening to it. It's not that I'm afraid of taking risks; I'm just tired of failing.

So my question isn't "Which genre should I make?" It's "How do I figure out what I want to make in the first place?" I'm not looking for advice like "just make whatever you want", "follow your heart", or "genres don't matter". Honestly, I don't know what I want, and simply experimenting with more genres hasn't helped me. For anyone who's been in a similar position, how did you actually figure out which musical direction you wanted to commit to?

I should also mention that I have autism and ADHD. I'm not sure if that plays a role in these problems, but I figured it was worth mentioning.

**Mods please let me know if this is the wrong subreddit - happy to remove**

Hey all hope you're well

I'm the owner of an emerging Music Artist Booking Agency and have organised events in the southern hemisphere and I wanted to ask other booking agents:

Do you guys typically approach your prospective clients (promoters, organisers) with Social Media Reach data & previous ticket sales (redacted, of course) as well as any other useful data from the Artist?

Being an organiser, I've had a handful of agencies approach us with no quantifiable data for us to forecast things such as ticket sales, reach/conversions required etc. and when we ask for data, we get told they don't or can't provide it (which makes it difficult for us to inevitably forecast demand for a show).

I'm just wondering if this is common across the industry?

I'm from Data Analytics myself so switching this industry has been a complete contrast LOL

I'm an independent artist trying fund my career while working sales. I work in insurance industry basically have all the freedom to work from anywhere and anytime. I feel like i am not getting enough time to be creative as an artist to craft my craft. Has anyone been in my shoes and been able to have a success in music? I'd appreciate having your advice. Thankyou !

I’m an artist. I had a
meeting with a record label yesterday, they seemed super interested, they also reached out first. We talked for 30 minutes and they had me send over what I was working on. I’ve seen them listen to a few things. Was wondering traditionally if it’s normal to be ghosted after this sort of thing if my demos turned them off or if it just takes a while.

Hey, my DistroKid account is banned, but my earnings are still showing up in my account.
I updated my payment method and I want to withdraw the money, but the system keeps telling me to contact support. I’ve been reaching out to them, but they never reply to my messages.
I just wanna ask, do they not respond to banned accounts or what?
Has anyone here had their account banned and actually managed to get in touch with them?
I’d like to hear your experiences. I still have over $3,000 in earnings sitting in my account.

Hi everyone! I've been thinking about pursuing a career in the music industry, and I'd love to hear some advice from people who have experience in this field.

I'm highly organized, work well under pressure, and have experience in hospitality, team leadership, and management. I'm wondering whether there might be opportunities for someone with my background to get their foot in the door as a remote assistant, virtual assistant, or intern.

I know networking plays a huge role in this industry, so I'm also curious about how possible it is to build meaningful connections online, especially when relocating or being physically present isn't an option for me at the moment.

I've been doing a lot of research into the industry, and I feel that it's a field I'd genuinely enjoy and could bring something valuable to. I'm willing to learn, work hard, and start wherever I can gain relevant experience.

I'd really appreciate any advice, personal experiences, or recommendations on where to look for entry-level opportunities and reliable resources to learn more about the industry.

Thanks in advance!

So I just put out my debut EP (5 tracks, indie/alt stuff) and honestly it's been a wild ride. Figured I'd share some real talk for anyone else grinding as an independent artist.

The biggest thing I learned? Mixing your own stuff on a budget is brutal. I spent months going down YouTube rabbit holes trying to figure out DAWs. There were nights I almost gave up but eventually it clicked.

Another thing - keeping the vibe consistent across all 5 tracks was way harder than I thought. You think you've got it figured out then you listen back and one song just doesn't fit. Had to rework stuff multiple times.

And man, the self-promotion side is exhausting. Nobody prepares you for how much time goes into marketing when you're doing everything yourself. I'd rather be in the studio than posting on social media any day.

At some point I just had to let go of trying to make everything perfect and hit release. Done is better than perfect, right?

Still figuring out the whole audience building thing from scratch though. Streaming algorithms are a mystery to me.

For anyone who's been through this - what was the part that surprised you the most? Would love to hear how you handled it.

We are an indie electro punk band from Scandinavia. We have a local booking agent that books for us with a flat performance fee and takes a 15%cut. Now we are booked for a festival in France and we want to book some other dates on the route in Germany to make it a tour. We don’t have an international booking agent yet, so we want to do the DIY way. I have heard that in Germany/France the fee is much lower than in Scandinavia. I am also aware that without a booking agent, we might not be able to negotiate a higher fee. So I wonder what kind of fee structure is common in these countries? Is it feasible to make a DIY tour financially postive?

I'm aware that creators are often paid to dance, lip sync, etc. to drive awareness of a song. And that this is a typical portion of music-marketing budgets.

However, this doesn't explain the fact that:

1. Songs from five, 10, 20 years ago commonly resurge and form the basis of many popular trends. For example, remember NSYNC's "I Want You Back" dance from a couple months ago?
2. You simply cannot create a trend with money alone. Ultimately it still comes down to how cool a vibe is. Also this may be because I'm a marketing n00b, but I haven't seen a clear example of "this song went viral and here's the wisely invested budget that drove it".

Chartmetric looked at 49 songs a year (2020 to 2025) that passed 100K TikTok posts. Two numbers jumped out.

Speed: in 2020 it took an average of 340 days to hit 100K posts. In 2025 it took about 48.

Value: in 2020 each TikTok post was tied to about 738 Spotify streams. In 2025, about 275.

Two examples from the same piece. Eminem and Juice WRLD's "Godzilla" reached 100K posts in 2020 after about 238 days, with roughly 450M Spotify streams already.

KATSEYE's "Gabriella" hit 100K posts in 18 days in 2025, with about 47M. Same milestone, around a tenth of the streams. (Chartmetric says these are averages, not proof of cause, and that genre, career stage and release timing all matter.)

So the spike is easier to get than ever and worth less. MIDiA's research says the same thing: lots of young listeners find a song in a clip and never go further.

Here's the small-artist example from that piece. Absolutely posted a live piano snippet on June 11, 2025 (530K likes, 4M views). She then teased the song in different styles and even asked fans to use the sound to convince her label to release it. It came out June 27 and passed 5.2M Spotify streams. After that she put out a live version and a music video to keep it going.

What I'd take from it:

Vary the clips. Chartmetric suggests the same snippet repeated for weeks before release can leave a song feeling used up by release day.

Give people a reason to use the sound, not just watch it.

Plan for after the spike. A live version, a video, anything that gives the listener a second thing to find.

Check what happens on Spotify afterwards, not the post count.

Anyone here had a song pop on TikTok and then fizzle? What did you put out next to keep it going?

I'm currently in high school and have no idea what I want to do. Anything that would make me money seems like it would make me hate life and anything that I truly enjoy seems like it makes no money. Music is my whole life and I want to see if I could make some kind of career out of it. When I try to do research the main things I see are producers and recording engineers. I'd love to work in a studio and help people create the best version of their music but I'm not really sure if that's a reliable kind of job or how difficult it is to be successful in that field. I haven't really been able to find any other specific jobs in the music industry. I wanted to see if I could get advice from anyone to does have experience. Whether it be more information about being a producer or any other options in the field that would let me be hands on with music while still making enough to support myself, any advice is greatly appreciated.

Hi, so my EP opens for pre-order on streaming platforms in four days, ahead of its October 23 release. I'm wondering whether it's still worth setting up a Bandcamp pre-order or whether I should focus entirely on streaming platforms.

A. Launch a Bandcamp pre-order now, offering 48 kHz/24-bit (it's only 44.1/16 in streaming services) lossless downloads from my masters, and promote it alongside the upcoming release.

B. Wait for the streaming pre-order and focus my promotional efforts on Spotify, Apple Music, and other platforms.

Given that I already have an established streaming audience, which option makes more sense? Is Bandcamp worth launching at this stage, or would it be better to focus on the streaming campaign and offer Bandcamp downloads later?

I'm an independent, London-based multidisciplinary artist working across live performance, songwriting, vocals, MCing and improvisation. My strongest asset is the live experience itself: I can move between genres, collaborate in real time and create moments that are difficult to replicate on a record.

Over the past couple of years, I've started building some meaningful industry momentum. I've released music through Defected Records, I'm writing and recording with members of Faithless' creative circle, I've got a collaborative project that's attracted interest from Ministry of Sound, and I'm now navigating potential label and sync opportunities while developing my own live proposition.

Recently, a track I'm a co-artist and writer on received a positive response from Defected's A&R team after being shared internally. There's also interest from another label, so we're waiting to see what the actual offers look like. Separately, I'm exploring a non-exclusive sync representation opportunity, although reviewing the proposed terms has highlighted how easily publishing arrangements, master rights and third-party control can complicate otherwise promising collaborations.

That's the bigger challenge I'm trying to solve.

I don't want to accumulate impressive conversations, co-writes and near-misses. I want to turn the momentum into a sustainable career: recurring live bookings, properly documented rights, meaningful catalogue ownership, direct audience growth and relationships that translate into actual commercial opportunities.

I'm also working out how to balance the immediate opportunities with the longer-term goal of building a distinctive live artist identity, rather than becoming a supporting vocalist or a contributor to other people's projects indefinitely.

For those of you who've worked in A&R, artist management, publishing, sync or live booking—or who've built an independent career yourselves—I'd genuinely appreciate your perspective:

Priorities: If you were in my position, what would you focus on over the next 6–12 months?

Representation: At what point would you prioritize finding a manager or booking agent, and what evidence would you want in place first?

Leverage: How do you turn early label interest into better terms and repeat opportunities without overplaying your hand?

Rights: What's the best way to structure recurring collaborations so publishing, master ownership and decision-making don't become obstacles later?

Live career: How would you turn a strong, multidisciplinary live proposition into a repeatable commercial product that venues and promoters can buy?

I'm not looking for shortcuts or someone to tell me to keep grinding. I'm interested in hearing from people who've seen this stage of a career from the inside: what actually compounds, what tends to distract artists, and what you'd do differently if you were starting from this position.

Thanks in advance to anyone willing to share some honest perspective.

I have been making music for a couple years now and have been trying to find my confidence as an artist. Do you believe its better to upload songs as i develop my production/vocal skills or to wait for when i “think” Im “ready”?

Hey sorry if this is a silly question but I'm just starting. An artist contacted me on ig wanting to buy some beats but without using beatstars.

How do I go about it? Lol

Do I just make an standard contract and sent it to him or just send the beat?

What do I include in the contract if that is the case haha

Thanks

Hey yall, i've been using distrokid for awhile now but have been wanting to switch to a different company, especially now with everything going on with them. I'm wondering what are some distrokid alternatives that you like?