the AMP Issue 26

"Music is the great uniter. An incredible force. Something that people who differ  on everything and anything else can have in common." 
― Sarah Dessen, Just Listen

In This Issue... [17 pages, approx 25 minutes to read] You'll Get... 

• RECOMMENDS— for Singer Songwriters: a Movie and a Series; June and Willie

• the 100 GREATEST SINGER SONGWRITERS of All Time— Lucinda Williams 

• BACKSTAGE PASS— 5 Lessons I’ve Learned About the Songwriting Business by Jason Blume 

• FEATURE— TrueFans: Why They’re Vital for Artists in the Algorithm Era 

• PS from PS— a BRAG— the Amp is a half-year old! Yay!

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Here’s the playlist

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• RECOMMENDS— for Singer Songwriters: a Movie and a Series; June and  Willie Nelson & Family. 

Not all films and series about Singer Songwriters fill the bill of Inform, Involve and Inspire. These two do. Enough discoveries of things you didn't know and perspectives you hadn't thought of to get and keep your attention. A road trip through their lives. And plenty of heart-to-heart— theirs to yours— moments to move you to a new appreciation of both of these real-life legends of Country Music. Singer Songwriters are THE most fascinating people in the world! 

Both on Paramount+. June is a 01:38 documentary. Willie Nelson & Family is a four part series. 

JUNE— A feature documentary that reveals the extraordinary life work of one of country music's most recognizable, but underappreciated stars: June Carter Cash. 

from The Guardian 
The title is June— no surname. Which is surely director Kristen Vaurio making a point, since her documentary about June Carter Cash makes a convincing case that the country singer has for too long been under-appreciated and overshadowed by her husband  Johnny. The stereotype of June is that she was the wifey-for-lifey who saved Cash from his demons, but the woman who emerges here is tough and funny, blazing a trail for herself as an artist. As Reese Witherspoon, who portrayed her in the movie Walk the Line, points out— still indignant— it was June who wrote Ring of Fire (with Merle  Kilgore), one of Cash’s most famous songs. 

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Willie Nelson & Family 
from Common Sense Media  

In Willie Nelson & Family, the accomplished country music legend talks about his childhood, his family, and the work ethic that was instilled in him as a child who grew up without material comfort. Music filled the Nelson household when Willie and his sister, Bobbie, were growing up. Willie became inspired to pursue writing and playing music, which came naturally to him. But success didn't come easily; he had to work and work. Walking a line between wrangling the blues for art and perpetuating the blues in life, Nelson describes struggling with mental health and addiction issues. History tells that he eventually rose to the top of his genre, but this docuseries explores the journey he's taken and the paths he's forged. 

Moody, soulful, and beautifully reckoned, this biopic about a music legend doesn't content itself with superficial storytelling. Issues of poverty, racism, struggles with drinking, and suicidal ideation get air time in Willie Nelson & Family, illustrating that even legends are mortal. 

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• the 100 GREATEST SINGER SONGWRITERS of All Time— Lucinda Williams 

Raised in Louisiana, Lucinda Williams grew up listening to Hank Williams and reading Flannery O'Connor and emerged in the late Eighties as the great Southern Songwriter of her generation. Yet, unlike most artists with a literary bent, she focuses on sensual detail just as much writerly scenes and imagery. Few Songwriters use repetition as skillfully as Williams. 

— Rolling Stone Magazine 

Lucinda Gayle Williams is an American rock, folk, and country music singer,  songwriter, and musician. She recorded her first albums, Ramblin' (1978) and Happy Woman Blues (1980), in a traditional country and blues style and received very little public or radio attention. In 1988, she released her third album, Lucinda Williams, to critical raves. Widely regarded as "an Americana classic", the album also features Passionate Kisses, a song later recorded by Mary Chapin Carpenter, which garnered Williams her first Grammy Award for Best Country Song in 1994. Known for working slowly, Williams' fourth album, Sweet Old World, appeared four years later in 1992. Sweet Old World was met with further critical acclaim and was voted the 11th best album of 1992 in The Village Voice's Pazz & Jop, an annual poll of prominent music critics.  

Williams' commercial breakthrough came in 1998 with Car Wheels on a Gravel Road, an album presenting a broader scope of songs that fused rock, blues, country, and Americana into a distinctive style that remained consistent and commercial in sound. Car Wheels on a Gravel Road, which includes the Grammy-nominated track Can't Let Go, became Williams' greatest commercial success to date. The album was certified  Gold by the RIAA and earned Williams a Grammy Award for Best Contemporary Folk Album, while being universally acclaimed by critics. Williams released the critically acclaimed Essence three years later, and the album also became a commercial success.  One of the album's tracks, Get Right with God, earned Williams the Grammy Award for Best Female Rock Vocal Performance in 2002.  

One of the most celebrated Singer Songwriters of her generation, Williams has released a string of albums since that have earned her further critical acclaim and commercial success, including World Without Tears (2003), West (2007), Little Honey (2008), and  Good Souls Better Angels (2020). Among her various accolades, she has won three Grammy Awards, from 17 nominations, and has received two Americana Awards (one competitive, one honorary), from 11 nominations. Additionally, Williams ranked No. 97 on VH1's 100 Greatest Women in Rock & Roll in 1998 and was named "America's best songwriter" by Time magazine in 2002. In 2015, Rolling Stone ranked her as the 79th greatest songwriter of all time. In 2017, she received the Berklee College of Music  Honorary Doctor of Music Degree and ranked No. 91 on Rolling Stone's 100 Greatest Country Artists of All Time. In 2020, Car Wheels on a Gravel Road ranked No. 97, and Lucinda Williams ranked No. 426, on Rolling Stone's 500 Greatest Albums of All Time.

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To visit on the MusicThisDay.com website, tap the link:  

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EdNote— With the growth of the AMP there's a bunch of good-to-great stuff newer subscribers missed, so... waste not. We're recycling from past issues. Case in point... This 'classic' by Master Songwriter (and Songwriting Mentor) Jason Blume from the AMP Issue 13. If you've read it, give it a go again. If not... Do it! It's so good. 

AND... the article below should take about 8 or 9 minutes to read. In that time you will learn what it took Jason years (and years) to understand and apply. Success leaves clues.

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• BACKSTAGE PASS— 5 Lessons I’ve Learned About the Songwriting Business  by Jason Blume 

Seven long years passed from the time I moved to Los Angeles to pursue my songwriting dreams until one of my songs appeared on one of the Billboard charts. That song only reached #63. It would be four-and-a-half more years before I’d have a song in the top 10. 

I have earned my living as a writer for more than twenty-five years and below are some of the most important lessons I’ve learned. 

Write Songs That Have an Outlet 
For years, I wrote songs that I would now categorize as Singer Songwriter, folk, or Americana songs. I was certain my songs were better than most of the hits I heard on the radio. So, I was frustrated and perplexed when time after time, publishers failed to sign my self-proclaimed masterpieces. 

I did not take into account that publishers are in business. To keep their gigs, they need songs that generate money; songs that sound like radio hits; songs they believe they can place with artists who do not write their material; and songs that open the door to setting up collaborations between their writers and successful artists and/or record producers. Publishers might also seek songs they believe they can license for placement in television shows and films. 

The songs I was writing might have worked well if my goal had been to be a recording artist releasing my own material. But I wanted other artists to record my songs. 

The problem with writing songs that are “better” than those on the radio and at the top of the streaming charts is that we need to write songs that sound like they belong on the same playlists as the current hits. Our songs need to be fresh and unique while still sounding consistent with the successful songs in the genres we are targeting. 

In my workshops, I sometimes review songs that sound like they could have been hits in a previous era. Some of these country songs sound tailor-made for Loretta Lynn, Kitty Wells, or Conway Twitty. Their pop counterparts sometimes sound like they belonged on an album by iconic artists such as the Association, the Supremes, the Four Seasons, or the Righteous Brothers. The problem is not that the songs aren’t strong— it’s that there are no successful artists currently recording in these styles. 

For some Songwriters, writing from the heart produces songs that are perfectly suited for today’s market. This was not the case for me. I needed to study and emulate the structures, melodies, chord changes, grooves, and productions that were propelling songs to the top of the charts if that is where I wanted to be. In many cases, I could shape my songs to fit the styles that were in vogue without altering the essence of the song. When I began delivering the kinds of songs that publishers believed they could place, I began signing contracts and getting my songs recorded— instead of complaining that no one was recognizing my talent. 

Get Feedback Before Investing in a Recording 
The songs that are some of the toughest for me to critique at my workshops are those that sound great— until I place them under the proverbial microscope. These recordings sound so good because the writer has invested considerable amounts of time and money to produce a demo recording that meets the high industry standard. 

In some instances, the writers have hired top-notch studio musicians, vocalists, and engineers who know how to capture radio-friendly performances. In other instances,  they have spent countless hours producing demo recordings in home studios equipped with the latest gear. 

To the layman, a great demo can easily be mistaken for a great song. Catchy licks, awesome vocals, a hot band, and a well-engineered recording can evoke effusive praise from family and friends. But almost all of the songs produced by pro writers and submitted by music publishers have demo recordings that include these elements; they are the industry standard. 

Professionals, such as music publishers, producers, and record label executives assess the underlying song. No amount of embellishment can overcome a weak lyric or a  melody that fails to stick in listeners’ brains. 

It seems that the more time and money we spend on a demo, and the better it sounds, the less likely we are to acknowledge the song’s weaknesses— or revise it. Why spend considerable time and money only to be told that a song would benefit from some serious surgery? 

We need a great demo and a great song to rise above the competition. The time to seek professional feedback is before investing time and money in a demo recording. 

Produce Better Demos 
I assumed that listeners would be able to hear the hit potential of my songs regardless of the quality of my demo recordings. I was able to imagine how my songs would sound if they had the groove I imagined; if they included background vocals; if they featured hooky musical licks and different grooves, and if the vocal and instrumental performances were up to the industry standards. 

Can’t music industry professionals be able to do the same? The answer is a loud and resounding... 

"No." Our listeners are not mind-readers. 
When I screened songs as a production coordinator and an A & R assistant, in most instances, the overwhelming volume of songs I needed to review made it impossible for me to envision how a song might sound if the demo had been produced differently. It either sounded like a hit— or it didn’t. 

To give my songs the best chance of rising above the competition, my demos needed to demonstrate the potential of my songs. While in many cases, it was sufficient to produce slow songs with only a guitar or a keyboard and vocal, songs that relied on a  groove needed to be more fully produced. 

At my songwriting workshops, over the years I have shared demos of songs that went on to become hits. In the vast majority of cases, those demos clearly laid out the road map for the producer and artist to follow. 

At the beginning of my Songwriting pursuit, I sang the vocals on my demos, and in many cases, I played the guitar. It would be generous to call me a mediocre guitarist. I’m a pretty good singer, but I was rarely the best singer for the songs I recorded. My vocals lean toward the Americana or Singer Songwriter categories. But I was writing country, R&B, rock, and pop songs. I needed to hire the musicians and vocalists who could best convey how my songs might sound on the radio. 

Demos that are not up to the industry standard send a signal from the first note that the songs have come from an amateur. When I began hiring pro session players and vocalists my songs began to get noticed. 

Have a Marketing Plan Before Recording 
I can’t count how many aspiring recording artists I’ve taught who have invested tens of thousands of dollars to produce albums— only to find those recordings gathering dust. Back in the day when CDs were the primary mode of distributing music, these artists ordered 1,000 CDs, the minimum order. When asked how they planned to sell them, the  typical response was, "I’ll place it on my website and on Amazon, and I’ll do a video for YouTube." Boxes of these CDs wound up in basements, attics, storage units, and trash  bins. 

With Amazon offering more than 100 million songs, the chances of listeners randomly finding yours is literally one in 100 million. Similarly, those posting videos on YouTube have more than 300 million other videos vying for attention. 

Before spending money to produce recordings, cover artwork, and videos, formulate a plan for promoting the product. This might include scheduling a tour, during which you will sell products at your shows; media promotion, such as newspaper articles and local television and radio appearances; and a strategy for getting your music "discovered" on social media platforms such as YouTube, and on playlists. 

Companies such as Rise (https://rise.la) work with artists, record labels, and music publishers to get their music played on Spotify, YouTube, and Instagram. Click on How to Get Your Music on Playlists: Demystifying the Process to learn more about this process. 

Producing awesome music is crucial—but it is not enough. 

Seek the Right Collaborators 
I’ve heard it said that putting two writers together to collaborate is quite different from breeding championship thoroughbreds. Combining the genetic stock of winning horses is likely to produce offspring that possess the qualities of a winner. But this is not necessarily the case with Songwriters. I’ve written mediocre songs with some extraordinarily gifted writers— writers who created iconic songs and collected GRAMMY awards. Of course, the songs were perfectly crafted; there was nothing wrong with them, but the magic just wasn’t there. 

There is no way to predict with whom that elusive chemistry will emerge. Of course, I needed to work with writers who brought out the best in me creatively. But it was also important to work with writers who could contribute to getting the songs recorded. In some instances, these were recording artists or record producers. In other cases, these writers were signed to well-connected publishers. 

This lesson was hammered home when I wrote with the late A.J. Masters during my first visit to Nashville. A.J. was signed to a music publishing company; I was not. On my own, I had limited opportunities to pitch our song— and even less credibility. But A.J.’s publisher had the connections and ability to get through those all-important doors, and one of those doors led to our song being recorded by the Oak Ridge Boys. 

Writing with a recording artist, producer, or someone else "inside" a project can certainly provide an edge. The same is true for writing with a writer signed to a successful publishing company. But these advantages won’t be enough to get you across the finish line unless the pairing results in a very strong song. Ideally, we will find collaborators who tick off both the creative and business boxes. 

I hope my experiences and some of the lessons I learned along the road to songwriting success can help expedite your journey and make it even more lucrative.

Read the partnership message below to learn more about Jason, subscribe to his newsletter, and take advantage of his free offer... 

in partnership with with Jason Blume

• FEATURE— TrueFans: Why They’re Vital for Artists in the Algorithm Era by Janelle Borg with Amplify 

Ed Note: We've taken the liberty of replacing Janelle's term "TrueFans" with TrueFans because we like it better and... It's true.  

Over the past year, we’ve been talking a lot about the importance of TrueFans in developing careers. It seems the rest of the industry is catching up, as the concept of TrueFans is quickly becoming the hottest music industry trend of 2024. Why? 1) Many music industry heads are now talking about it, 2) It’s an approach that works. 

The music TrueFan theory is nothing new, but in an industry increasingly overtaken by algorithms, TrueFans provides a sure-fire way for artists— even emerging and mid-tier artists— to make money and develop their audience.  

Let’s take a deep dive into music TrueFans and why they’re now more important than ever for both emerging and established artists. 

Table of Contents 

• What is a TrueFan? 
• How can music TrueFans influence an artist’s career? 
• What are the main characteristics of a music TrueFan? 
• Social signaling 
• Identity expression 
• Community 
• How to turn fan data into actual TrueFans 
• TrueFans, exclusivity and personalization 
• Final note 

What is a TrueFan? 
Simply put, TrueFans are a subgroup within an artist’s fan base who are willing to support and pay more for anything related to their favorite artist than the average fan. TrueFans not only stream an artist’s music, but watch their music videos, and occasionally go to a live show. No, they go beyond that. They’re ready to travel thousands of miles to attend a show and are the first to buy merch. Their level of dedication exceeds that of the average engaged fan. 

If we boil it down to finances and measure average revenue per user, TrueFans come out on top, as they’re the ones who spend the most money on the artist.  

But if we go beyond finances, TrueFans are also brand ambassadors, advocates, and torchbearers of an artist’s narrative.  

They also have a real affinity for the person behind the music and typically know details about their personal life and musical journey that casual fans aren’t really interested in. 

How can music TrueFans influence an artist’s career? 
In previous eras, someone’s success was tied to how many units they sold. This metric defined who became a superstar and who flopped. When the industry shifted to digital, this definition became more nuanced due to the large amount of data that now needs to be taken into account. 

Nowadays, the music industry generally uses the following criteria as key performance indicators: the number of streams, the number of organic searches of the artist’s name and music, and how often the artist’s songs have been added to individual playlists and libraries.  

In addition, an artist’s social media following has also become a key— if not THE  key— factor in determining an artist’s position in the industry’s success hierarchy. 

According to Spotify, TrueFans make up about 2% of artists' monthly listeners.  However, they account for 18% of the monthly streams. In addition to Spotify data, Luminate Data found that TrueFans spend 80% more on music per month than the average US-based listener. What’s more, those who continue to purchase physical formats are twice as likely to be music TrueFans. 

So, given these KPIs and findings, how can TrueFans change the trajectory of an artist’s career? They can literally make (or even sometimes break) an artist. First off, TrueFans have the power to contribute to an artist’s cultural impact, influencing both online and offline discussions about that artist’s involvement in fashion, music, and social issues. Their devotion and discussions create a ripple effect, elevating their favorite artist’s presence in the larger cultural narrative. 

They’re also in a unique position to engineer virality.  

If a group of TrueFans starts sharing an artist’s content, creating fan art and fan-generated content, and engaging with other online communities, they can amplify an artist’s reach to viral level. In turn, they can transform a singular musical experience into a shared cultural phenomenon. 

What are the main characteristics of a music TrueFan? 
Based on research conducted by Luminate Data, the three main characteristics of a music TrueFan are social signaling, identity expression, and community: 

Social signaling 
TrueFans tend to be early adopters in music discovery and finding emerging talent. By becoming early adopters and being in tune with the cultural conversation, they accumulate social capital and position themselves as tastemakers in their circles. This is called the "pioneer effect," as they take on the "pioneer role" of introducing their family, friends, and acquaintances to new artists and evangelizing why they should also become fans. 

Identity expression 
TrueFans not only uses their words as a form of advocacy but also adopts some of the artists' identifying features and values as a way of expressing themselves. Whether it’s something as simple as copying their favorite artist’s haircut, or something as nuanced as political opinion, they often use their association with a particular artist as the catalyst to express who they really are. 

Community 
Being part of a fandom provides an undeniable sense of community. That sense of belonging is a fundamental human experience. According to the Australian Psychological Society:  

"A sense of belonging does not depend on participation with, or proximity to,  others or groups. Rather, belonging comes from a perception of quality, meaning, and satisfaction with social connections." 

TrueFan communities provide a safe and welcoming space for those who share a deep passion for a particular artist. They allow fans to connect with like-minded people without fear of being judged or ostracized for their fandom. Whether it’s online communities or in-person meetups, fan communities play a crucial role not only in driving an artist’s career forward but also in bringing a sense of purpose and fulfillment to the lives of each TrueFan. 

How to turn fan data into actual TrueFans 
Talking about big names and their fan communities is all well and good. But how can emerging and mid-tier artists identify who’s a TrueFan and who’s just a passerby? 

With social media and streaming platforms hoarding data, it’s easy to feel like your fans are anonymous. Instead of relying on these platforms... 

...Use them as a discovery funnel and transfer interested individuals to platforms where YOU own the data.  

These include email marketing platforms and subscription platforms like Patreon.

Email marketing provides a direct line of communication with your TrueFans, free of the shackles of algorithms.  

The value of this communication is immeasurable, as fans who willingly share their email address with you are more likely to be on their way to TrueFan status. 

Subscription platforms are the epitome of TrueFandom. Fans are investing their hard-earned money on you, and what better way to support your career than a  monthly cash injection? 

TrueFans, exclusivity, and personalization 
TrueFans are drawn to exclusivity. Once you’ve decided to set up a Patreon (or equivalent), you need to prioritize delivering exclusive content and honoring your side of the deal. Those who actively seek and join these spaces are deeply invested in your journey, so don’t take their commitment (or money!) for granted. 

That’s why personalized communication is so important. Make sure you tailor your interactions to acknowledge each individual’s support. Use names, reference specific interactions, and acknowledge their contributions. This level of personalization not only strengthens your connection with each TrueFan, but also strengthens your community. 

Final note 
Keep in mind that followers do not equal fans. So, instead of hyper-focusing on numbers, invest your time and energy in building a community that can support you and your career in the long term. By adopting these strategies, you’ll not only be able to identify who your TrueFans are but also foster a thriving TrueFan community that can take you to the next level. 

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Janelle Borg is a freelance digital marketing specialist and content writer with a wide range of experience in various industries. She knows a thing or two about the music industry. Having been in since the age of 13, she's now involved in a variety of music-related projects and is always keen to share industry tips 'n' tricks with fellow musicians. 

Subscribe to AmplifyYou. Join 33,000+ artists and get the latest music marketing and tech news every week to supercharge your career. Tap the link. 

 Help us spread the word about the AMP.  

There's one BIG reason we give it away Free. No strings.  

Because... Our Mission & Purpose is to 'Put Success In Your Singer Songwriter Career.' We know cost can be a barrier for aspiring creative artists to get the knowledge, resources, and inspiration they need to succeed. So... the AMP is free.  

If you're a TrueFan... You enjoy the AMP... ✭✭✭✭✭... Benefit from what's in each issue... And you're willing and able to spread the word with and for us... PLEASE. And  THANK YOU!  

Send your friends, family, band members, roadies, and complete strangers this link: New Music Lives FREE. They'll get the AMP. the Book. the Group. No charge. No strings.  

We're a word-of-mouth-movement because: It's Time... for a Change. Big Time. Past  Time. We're asking you to help us make that happen.  

• PS from PS— a BRAG— the Amp is a half-year-old! Yay!  

With this week's Issue 26, the AMP is 6 months old— and since I don't write it, I'm free to brag about how great it is. That's the feedback we've gotten from music biz pros—  those forward-thinking ones who share our New Music Lives™ vision... Who believes It's Time... for a Change. Big Time. Past Time... Who are committed as we are to having Singer Songwriters (finally) get a fair shot at success. Plus we've got the performance data to go along with those encouragements and endorsements. the AMP has an open rate— the key industry metric— that puts it in the top 10% of not only music market letters but all newsletters in all markets.  

So... Yes... Like a proud papa. 

The best thing for me as the Founder of New Music Lives™ is that my passionate belief in the TrueFans concept as the best way for you to create a strong and sustainable Singer Songwriter career resonates with so many of YOU. We're focused even more on that is the weeks and months to come. Nice idea, but you need the tools, tech, and training to make it get the results you want and need. That's a promise. 

Like an acceptance speech at an award ceremony, I want to thank Keith Gard, Phil Circle, Mike Goodrich, August Knight, Jim Parker, Ritch Estra, Eric Knight, Jason Blume, Jay Gilbert, Tatum Quinn and so many more for their support and encouragement. Without you, we would have nothing. It's for you and yours that we do the AMP.

So... Thank you. Again 

One other person to thank: John Fogg. NML's CWO— Chief Whatever Officer. John's the writer and editor of the AMP. He works tirelessly curating and creating the best content for every issue. So please, give John a virtual high-five. Or ten.  

Two requests: Would each of you who opens the AMP this week please refer it to another Singer Songwriter you know? I and we would be most grateful.

Second: If you have not already, join our Facebook Group so we can get to know you and serve you more and better. Connect > Engage > Enroll. It works.  

I'll close by saying thanks again. Without you, the AMP would not exist. As I used to say at the close of all my radio shows: Until We Talk Again... 

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Thank You our True Fans for reading the AMP. Give us your feedback.  

And PLEASE, if you've got any Singer Songwriter friends, pass the AMP on, because... It’s Time... for a Change. Big Time. Past Time…