the AMP Issue 82

"For a songwriter, you don't really go to songwriting school; you learn by listening to tunes. And you try to understand them and take them apart and see what they're made of, and wonder if you can make one, too."
— Tom Waits

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In This Issue...  18 pages (about 27ish minutes to read) You'll Get... 

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• Recommends— Ted Gioia and the Honest-Broker

• the BIZ— The Music Business is "Healthy" Again? Not So Fast.

• Inspiring Quotes— 20 Quotes From the Biggest Pop Stars in History

• the Greatest Singer Songwriters—  Tom Waits

• Guest Article— How Do Musicians Deal With Anxiety? by Marc Gelfo

• PS from PS— Stats are NOT people.

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Here’s the playlist

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• Recommends— Ted Gioia and the Honest-Broker

Ted Gioia is one of the world's foremost authorities on music, celebrated for his deep understanding, thought-provoking insights, and ability to uncover the stories behind the songs that shape our lives. A prolific writer, historian, and critic, Ted has authored eleven books, including the widely acclaimed The History of Jazz, now in its third edition and considered a definitive work in the field.

His essays and reviews explore a vast array of musical genres, blending scholarship with a storyteller's flair. Ted's keen analyses and reflections have appeared in The Atlantic, The New York Times, and Los Angeles Review of Books, among other prestigious publications. Whether he's writing about jazz, classical, rock, or folk traditions, Ted's voice resonates with both seasoned musicians and casual music lovers alike.

Beyond the page, Ted Gioia is a champion of independent music and creative expression. His popular Substack newsletter, The Honest Broker, is a must-read for those seeking fresh perspectives on music and culture, offering an eclectic mix of reviews, commentary, and curated playlists.

In a world where music often risks being reduced to background noise, Ted Gioia reminds us of its transformative power, its ability to inspire, and its role as a central thread in the fabric of human history.

To learn more about Ted Gioia and his work, visit tedgioia.com. AND the Honest Broker on Substack

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• the BIZ—  The Music Business is "Healthy" Again? Not So Fast.

Ted Gioia's skeptical take on the so-called Golden Age of Music

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This article is a condensed summary of Ted Gioia's piece for his Honest-Broker, The Music Business is Healthy Again? Really? where Ted expresses his deep skepticism. The original is filled with revealing graphics illustrating the facts of the matter by the numbers. We encourage (dare we say 'urge') you to read the original. Tap this link to go there and do that: The Music Business is Healthy Again? Really?

Here's our summary of Ted's insightful piece.

Headlines keep proclaiming a new Golden Age in the music business. Streaming revenues are up, the industry is booming— so why are musicians struggling more than ever? Ted Gioia lays it out: 

The money is flowing, but not to the artists.

Who's Actually Making Money?

It turns out that the biggest winners in this so-called boom aren't the people making the music— it's the intermediaries: the platforms, labels, tech giants, and financial players who extract value from music without creating it. Streaming services like Spotify rake in billions while pushing down payments to musicians. Instead of investing in new, human-created music, they flood their platforms with AI-generated content, "fake artists," and repackaged old songs— because it's cheaper.

Compare this to video streaming, where Netflix, Apple, Amazon, and Disney pour tens of billions into producing new content. Music streamers? They avoid making new music themselves and instead manipulate the system, using opaque accounting, pay-for-play schemes, and royalty minimization tactics.

The Great Squeeze: Artists & Fans Pay More, Get Less
Gioia points out that musicians aren't the only ones suffering— listeners are getting squeezed too. Streaming services have been steadily raising subscription prices, while offering a worse experience:

• Less money goes to musicians 
• More algorithmically pushed, AI-created "content" 
• Fewer new and exciting albums 
• More old songs dominating the charts 

And it's not just the artists on the outside feeling the pinch— major record labels are starting to lose ground, too. Warner Music's recorded music revenue just dropped 15% year-over-year, and the big labels are hemorrhaging streaming market share. Their response? Weak, vague deals with Spotify where financial details remain undisclosed.

Instead of fighting back, the labels are shifting their focus away from recording altogether, moving toward publishing rights for old songs. But Gioia warns that this is a short-term patch: Copyrights expire, catalog value fades, and unless the industry reinvests in new artists, it will eventually run out of viable music.

Live Music Is Thriving— Because Streaming Killed the Album
One of Gioia's most striking observations is that recorded music has lost much of its cultural impact. The excitement today isn't around albums— it's around live music. 

People talk about Taylor Swift's tour, the Super Bowl halftime show, or viral concert moments— but when was the last time a new album captured that kind of mainstream attention?

Meanwhile,...

Grammy viewership has collapsed from 50 million to just 15 million, signaling just how disengaged audiences have become from the traditional recording industry.

Streaming Might Destroy Itself
Gioia predicts that if things continue down this path, streaming itself may collapse. The services are built on squeezing musicians and labels, but as their own audience engagement declines, even their executives are getting nervous— Spotify's senior leaders are selling off their shares.

If nothing changes, the industry could eat itself alive. The irony? When the dust settles, the ones left standing might just be the musicians and the fans— finally free to rebuild something real, without the tech overlords calling the shots.

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We highly encourage you to take the full deep-dive (and see the charts that prove it all.) Read Gioia's article here: The Music Business is Healthy Again? Really?

And to learn more about Ted Gioia and his Honest-Broker, read our recommendation in this issue of the AMP.

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• Inspiring Quotes— 20 Quotes From the Biggest Pop Stars in History

Pop stars come in all shapes and sizes, from gloriously glamorous divas to hip urban soul singers and Converse-wearing emo starlets. But if there's one thing they all have in common, it's that they have something to say, whether it's about the highs and lows of fame, their latest heartbreak, or the nature of music itself.

Sometimes their comments cause problems, such as when John Lennon proclaimed the Beatles to be "more popular than Jesus." The backlash to this statement was legendary; crowds of former fans even gathered to burn the band's albums.

But thankfully, pop stars have plenty of noncontroversial things to say, too— in fact, they can be downright wise. Here's a collection of quotes from some of history's biggest pop icons, from Frank Sinatra and Elvis Presley to Ed Sheeran and Taylor Swift.

If you don't know the guy on the other side of the world, love him anyway because he's just like you. He has the same dreams, the same hopes and fears. It's one world, pal. We're all neighbors.
— Frank Sinatra

The image is one thing, and the human being is another… it's very hard to live up to an image.
— Elvis Presley

You can't just sit there and wait for people to give you that golden dream, you've got to get out there and make it happen yourself.
— Diana Ross

The great thing about rock and roll is that someone like me can be a star.
— Elton John

[Make music] because it's what you have to do. And if you make this music for the human needs you have within yourself, then you do it for all humans who need the same things. Ultimately, you enrich humanity with the profound expression of these feelings.
— Billy Joel

I am my own experiment. I am my own work of art.
— Madonna

If you enter this world knowing you are loved and you leave this world knowing the same, then everything that happens in between can be dealt with.
— Michael Jackson

Try to create … Just start by creating your day. Then create your life.
— Prince

Failure is not falling down and making a mistake … or doing the wrong thing at the wrong time, it's stopping. Stopping is the failure. Not continuing forward is the failure, not keeping going. All you can do is know where you want to go and take steps every single day in that direction.
— Jennifer Lopez

Love is just an unexplainable thing, and there's a saying that I have in my bathroom in Louisiana. It says, "Go beyond reason to love, for it's the only safety there is."
— Britney Spears

You gotta make people care, you gotta know and believe how important you are. You gotta have conviction in your ideas.
— Lady Gaga

Not everyone is supposed to be the same. Be healthy and take care of yourself, but be happy with the beautiful things that make you, you.
— Beyoncé

Listen, I'm not cool. Being cool is about keeping your blood pressure steady. So no. Don't be cool. Be passionate. Be dedicated. Be tenacious. Be uncompromising. Be pissed. Be happy. Be sad.
— Justin Timberlake

Sexy and smart are not oil and water … you don't have to dumb yourself down to be cute.
— Pink

Boxing people in, labeling, it's all just really unnecessary. Women are so many things. Men are so many things. People are so many things.
— Ariana Grande

I'm going to let love lead the way, always. I was born with this blind ambition, and it's kind of gotten me here to this point. And I think that I'll stick to it.
— Katy Perry

I always believed that when you follow your heart or your gut, when you really follow the things that feel great to you, you can never lose, because settling is the worst feeling in the world.
— Rihanna

Be brave and fearless to know that even if you do make a wrong decision, you're making it for good reason.
— Adele

The main thing that you have to remember on this journey is, just be nice to everyone and always smile. Always appreciate things, because [they] could be gone tomorrow.
— Ed Sheeran

Getting a great idea with songwriting is a lot like love. You don't know why this one is different, but it is. You don't know why this one is better, but it is. It sticks in your head and you can't stop thinking about it.
— Taylor Swift

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from Inspiring Quotes.com. Scroll down to the gold box in partnership with... to learn all about them including subscription links.

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• The Greatest Singer Songwriters— Tom Waits

Tom Waits: The Gravel-Voiced Poet Who Redefined Songwriting

"Tom Waits didn't just bend the rules of Songwriting— he threw them out the window and built his own world from scratch. No one sounds like him, no one writes like him, and no one ever will." 
— Bruce Springsteen

Tom Waits is a singular force in music— a Songwriter, storyteller, and sonic architect whose gravelly voice and genre-defying compositions have captivated audiences for over five decades. From jazz-inflected piano ballads to junkyard blues and avant-garde soundscapes, Waits has carved an inimitable path, influencing generations of artists while remaining defiantly original. His ability to transform the ordinary into the mythic, the grotesque into the sublime, secures his place among the greatest Songwriters of all time.

"Waits is the dark carnival, the last bar on the edge of town, the sound of America's forgotten ghosts whispering in your ear." 
— Bono

A Career Forged in Smoke and Story
Waits emerged in the early 1970s, a troubadour with a penchant for beat poetry and seedy, after-hours storytelling. His debut album, Closing Time (1973), introduced a smoky, melancholic voice in American music, setting the stage for later classics like The Heart of Saturday Night (1974) and Small Change (1976). Songs like Ol' 55, Martha, and Tom Traubert's Blues painted vivid portraits of barflies, dreamers, and lost souls, with melodies that felt both timeless and weary.

By the 1980s, Waits had abandoned the piano-bar crooner aesthetic for something entirely new— an unholy fusion of blues, cabaret, vaudeville, and industrial noise. Swordfishtrombones (1983) and Rain Dogs (1985) redefined his sound with guttural howls, junkyard percussion, and surrealistic storytelling. These albums spawned some of his most beloved songs, including Downtown Train, Clap Hands, and Jockey Full of Bourbon.

"Tom Waits is the kind of artist you listen to when you want to feel like you've lived a hundred lifetimes in a single song."
— Nick Cave

His later works, such as Bone Machine (1992) and Mule Variations (1999), showcased his mastery of sonic experimentation and lyrical poignancy, earning him widespread critical acclaim and commercial success. His song Hold On remains one of his most covered pieces, a testament to his deep, enduring influence.

A Legacy of Collaboration and Innovation
Tom Waits has never been an artist confined to a single medium. His collaborations span music, film, and theater, from his work with legendary producer Kathleen Brennan (his wife and creative partner) to his film appearances in Down by Law (1986) and Bram Stoker's Dracula (1992). Brennan, whom Waits married in 1980, is often credited with pushing him into his most daring artistic territory, helping sculpt the sonic worlds that define his later works.

"He creates entire universes in three minutes. The rest of us just write songs." 
— Elvis Costello

Waits has collaborated with artists as diverse as Keith Richards, Primus, and Marc Ribot, lending his unmistakable voice and eccentric genius to a wide range of projects. His influence can be heard in the music of Nick Cave, Norah Jones, and even indie rock stalwarts like The Black Keys. Bruce Springsteen famously covered Jersey Girl, cementing Waits' impact on mainstream rock.

Awards and Accolades
Despite his aversion to commercial trends, Waits has amassed an impressive list of accolades. He has won multiple Grammy Awards, including Best Contemporary Folk Album for Bone Machine and Best Alternative Album for Mule Variations. In 2011, he was inducted into the Rock and Roll Hall of Fame, where Neil Young fittingly introduced him, describing his music as a "mystery train."

"Tom Waits is proof that the weirdest thing you can be is completely yourself." 
— John Prine

His work has also been recognized by the theater and film industries, with compositions for projects like The Black Rider and One From the Heart earning critical acclaim. Even as the industry has evolved, Waits' relevance remains unshaken.

A Life Outside the Spotlight
Unlike many of his contemporaries, Waits has maintained a fiercely private life, residing with Brennan and their children away from the public eye. His avoidance of celebrity culture has only added to his mystique, reinforcing the idea that his music— not the man behind it— is the true focal point.

While not overtly political, Waits has used his platform for social commentary. His 2004 song Day After Tomorrow stands as one of the most poignant anti-war ballads of the modern era, a quietly devastating critique of America's involvement in Iraq. He has also spoken out against corporate greed and the commercialization of art, refusing to license his music for advertisements and famously suing Frito-Lay for using a sound-alike in a commercial.

"Nobody tells a story like Tom. He's a poet, a filmmaker, and a conjurer, all rolled into one." 
— Keith Richards

The Enduring Impact of Tom Waits
Tom Waits is more than a musician— he is a cultural phenomenon. His voice, at once ragged and tender, carries the weight of old ghosts and untold stories. His lyrics transform diners, dive bars, and lonely streets into mythic landscapes. His sonic innovations have inspired countless artists across genres, proving that true artistry lies in authenticity, risk, and reinvention.

As long as there are stories to tell, shadows to explore, and misfits to sing for, Tom Waits will remain a towering figure in the world of Songwriting— a poet of the gutter and a prophet of the sublime.

"I don't know if he writes songs or if he just channels them from another world. Either way, I'm grateful." 
— Norah Jones

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in partnership with InspiringQuotes.com 

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• Guest Article— How Do Musicians Deal With Anxiety? By Marc Gelfo|

Whatever happens on stage, you can take it in stride if you remain detached from specific outcomes. Whether you're learning how to start a music career as a musician or you're a seasoned pro, the pre-show jitters will always be there. Here are four thoughtful tips for managing music performance anxiety.
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What is music performance anxiety?
Music Performance Anxiety (MPA) is a very real experience that most musicians face, no matter how seasoned they are. It's that rush of nervous energy, the tightening of your chest, and the voice in your head saying, "What if I mess up?" But here's the thing—  you're not alone. In fact, it's almost a rite of passage for anyone who performs. It's the body's natural response to pressure, heightened by the vulnerability of being in the spotlight. 

The key is understanding that it's not something to be ashamed of. It's simply a signal from your body— one that can be managed.

Why does performance anxiety happen?
You may wonder, "Why do I feel this way? Why does my body betray me with nerves?" The truth is, it's all about your brain's protective mechanisms. When you step on stage, you're stepping into a situation that feels risky— there's the potential for judgment, criticism, or failure. Your brain perceives this as a threat, triggering the fight-or-flight response. While a little anxiety can sharpen focus, too much can be crippling. Understanding that this response is just your body's way of gearing up for action can help you start to take back control.

My journey through performance anxiety
Heart racing, wobbly knees. Shaky, sweaty palms. You're backstage, in a warm-up room, or hiding in the bathroom. Even if everyone has been saying "Don't worry, you're going to be great," believing them is easier said than done. If you've ever been in this scenario, you're not alone. According to professor Dianna T. Kenny's current research on music performance anxiety, 70% of orchestral musicians reported experiencing performance-impairing anxiety.

But, take it from me, there's hope for you. I know exactly how it feels to be consumed by fear and anxiety. The story doesn't have to end there. It certainly didn't for me.

Early in my music career, I played guest fourth horn with a symphony in Spain. They liked me and asked me to stay an extra week for Brahms Symphony #2. At the last minute, they moved me to principal horn. That's when the disaster happened. When the big horn solo came, I got catastrophically nervous and crashed and burned in front of all my colleagues. I was so physically impaired I couldn't even make a sound for the final few notes.

Fast forward to 2016, when I played principal horn on Mahler's Fifth Symphony at the Palm Beach Kravis Center. This symphony is jokingly called "Mahler's Horn Concerto" for the incredibly exposed and virtuosic principal horn part. Sure enough, my body was full of energy before the musical performance. But I knew not to call it nervous. Instead, I repeated to myself why I was so excited to play. Backstage, I practiced moving meditation and established shared intention with my colleagues.

The musical performance was spectacular. Not only did I play accurately and musically, but when I stood to deliver the third movement solo obbligato part, electricity flowed through my instrument to the audience. I felt connected to my colleagues and inspired to share a meaningful musical message.

What was different from the catastrophe of earlier days?
When the time comes for me to step onstage, my adrenaline still goes through the roof. My muscles start feeling twitchy, and I start imagining worst case scenarios. But I'm able to quickly manage my insecurity and anxious thoughts, sometimes before it even shows up. So, how do musicians deal with anxiety? Here's how:

I manage my energy
Some of my current practices for channeling my energy to mitigate music performance anxiety and stage fright include:

• Yoga, power poses, and breath work
• Repeatedly tensing my whole body and releasing tension
• Using the Moodnotes app
• Specialized learning techniques that allow me to access desired emotional states

I connect with everyone involved in the performance
I like to consider every person in my audience. I do this so that I can feel compassion, care for them, and see them as close allies rather than potential adversaries. I think about what my audience and colleagues want, and how I can serve.

I encourage you to do the same. You might be pleasantly surprised with what's reflected back when you bring unconditional kindness and compassion.

I focus on one thing
As Soren Kierkegaard once said, "Purity of heart is to will one thing."

For my Mahler Fifth Symphony performance, we used a simple focus point: "Nail it!"

You may want a more sophisticated focus, such as "Share the musical message," or you might want to go kinesthetic like, "Feel my feet on the ground."

Pick a focus point, like a rallying cry, that you know will support excellence and thwart any anxiety and negative thoughts throughout the live performance.

I visualize with expectation
How often have you wanted to win something and then repeatedly visualized yourself failing?

If you have, don't worry, you're not alone. I've definitely been there and done that too.

Now, I make sure to spend time visualizing positive outcomes before I perform. I imagine how great I'll feel when things go well. I hear myself playing music with divine beauty.

Pre- and post-performance rituals
Managing and conquering performance anxiety doesn't just happen in the moments leading up to or during the performance itself. It's about setting yourself up for success before you walk onstage and giving yourself space to recover afterward. Before the performance, I like to ground myself with rituals— a bit of yoga, some deep breaths, and a quiet moment to center my focus. These little practices help me feel prepared and present. Afterward, I make it a point to reflect— not just on what went wrong, but on everything that went right, too. Celebrate your victories, big or small, and be kind to yourself if things don't go perfectly. Growth happens over time— not in a single performance.

The art of detachment from music performance anxiety
As helpful as these practices are to me, what I believe to be most important in performing is mastering the art of being detached.

Whatever happens is what happens, whether you're in the spotlight receiving a standing ovation or the proverbial rotten tomatoes. You can take it in stride masterfully, but only if you remain detached from specific outcomes. Believe it or not, the results are less valuable than the process that brought you to where you are. Your best work always remains ahead of you. But if you can truly understand the beauty in all your hard work and hours of practicing, when the time comes for you to perform, you'll realize that you've already gained what matters most— more wisdom and strength.

For any professional musician, this detachment is especially crucial because performance nerves can often cloud judgment and make it difficult to enjoy the process. So keep being brave, keep making music, and may these four tips make your performance process even more enjoyable and quell music performance anxiety!
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About Marc Gelfo
Marc Gelfo has been playing and practicing music for more than 30 years. After applying cognitive science and computer science to French horn, Marc became an internationally touring symphony musician. His experience includes teaching and performing with thousands of musicians around the world, including the San Francisco Symphony. 

He is currently the founder of Modacity— One Practice App To Rule Them All. Modacity™ combines all the tools you need into one easy to use, music practice tool. Tap the link, Modacity to lean more.

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• PS from PS—  Stats are NOT people.

When I read Ted Gioia's analysis of today's "healthy" music industry, I felt aa all too  familiar pain. The same one I felt years ago watching a song poet pour her soul into a coffee shop performance while espresso machines and chatter battled with her words and music— and won. The same pain that led me to create New Music Lives™. So, I guess it's a good thing.

But I am tired of it.

The numbers don't lie— streaming services are indeed booming. But as Gioia powerfully illustrates, this prosperity is built on the backs of creators while enriching tech intermediaries. When I see that Grammy viewership has plummeted from 50 million to 15 million, I don't just see stats. I see a profound disconnect between artists and audiences. A gaping hole that genuine relationship could fill. To overflowing.

Another layer of technology between artists and fans is not what's needed. Tools to bring them closer together is and are. While streaming services push AI-generated content and manipulate algorithms, we're up to creating spaces where every song can find its true audience, where authentic connections flourish in small and alternative venues across the country. 

The key problem I see, is there is far to much weight placed on statistics when music success is discussed and calculated. Analyzed. Lift your head up from the screen or a phone and meet the people that are at the show. It's these people that have gotten into their car, driven across town and come out to see you that are the most important statistic. From here on start counting actual handshakes and hugs rather that clicks and likes.

Gioia predicts the current system might collapse under its own weight. But I see something else emerging from those ruins— a revolution in how music is shared, supported and celebrated. Not through faceless platforms, but through genuine human connections. Not through manipulated playlists, but through intimate performances where every lyric resonates. Not through pennies per stream, but through TrueFans investing in the artists they love.

Are you tired of hearing me say, 'Back to the future'? Hope not, because that's what's happening. 

Until we speak again...

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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...