the AMP Issue 83

"Music is an art form that doesn't need to be explained. It needs to be performed; it needs to be felt; it needs to be listened to; it needs to progress."
— Roberta Flack

In This Issue...  16 pages (about 24ish minutes to read) You'll Get... 

• Recommends— American Songwriter Magazine

• the BIZ— 82% Of Artists Can't Afford To Tour by Bobby Owsinski

• In Memoriam— Roberta Flack: A Voice That Touched the Soul

• the Greatest Songwriters— Tim Rice

• Guest Article— Wait! What? Even Rock Stars Have a Boss? by Derek Sivers 

• PS from PS— Reclaiming the Road: A Call for Revolution in Music Touring

Here’s the playlist

• Recommends— American Songwriter Magazine

Why American Songwriter Magazine is Essential for Every Singer Songwriter

If you're a Singer Songwriter, you need to be reading American Songwriter— it's that simple. This bi-monthly publication has been a trusted voice in the music industry for decades, providing invaluable insights into the art, craft, and business of Songwriting. Whether you're looking for creative inspiration, professional guidance, or the latest industry trends, American Songwriter delivers it all with depth, expertise, and a genuine love for music.

What Makes American Songwriter Stand Out?

• Exclusive Interviews with Iconic & Emerging Songwriters— From legends like Paul McCartney and Carole King to modern hitmakers like Brandi Carlile and Chris Stapleton, American Songwriter goes beyond the surface, offering deep-dive interviews that reveal the creative processes, struggles, and triumphs behind the songs we love.

• Songwriting Tips & Techniques— Whether you're battling writer's block or refining your lyricism, each issue is packed with expert Songwriting advice, co-writing strategies, and insights from industry pros who have mastered the craft.

• Gear & Studio Reviews— Stay ahead of the game with in-depth reviews of the latest instruments, software, and recording gear. Want to know if that new mic is worth the investment? American Songwriter has you covered.

• Industry News & Business Insights— Understanding the music business is just as important as writing great songs. The magazine keeps you informed on publishing deals, streaming trends, and career strategies so you can navigate the industry with confidence.

• Exclusive Features & Columns— Recent issues have featured fascinating breakdowns of Songwriting royalty battles, in-depth profiles of rising artists redefining the craft, and behind-the-scenes looks at the making of iconic records.

Explore More at AmericanSongwriter.com

Beyond the print edition, American Songwriter offers a treasure trove of online content, including breaking industry news, video interviews, Songwriting challenges, and opportunities to connect with fellow Songwriters.

For any serious Songwriter— whether you're just starting out or you've been crafting songs for years— American Songwriter is an essential resource. It's more than just a magazine; it's a thriving community where Songwriters learn, grow, connect and stay inspired.

Subscribe today and take your Songwriting to the next level!

• the BIZ— 82% Of Artists Can't Afford To Tour by Bobby Owsinski

During most of my lifetime, musicians made money by playing live, and under the right circumstances got a chance to play music in front of audiences outside their local areas. In fact, that's always been a goal of artists— to be able to go out on tour, no matter how small that tour was. 

But fewer venues and higher prices for gas, meals and lodging has made that dream nearly impossible today, which is outlined by a recent survey that found that 82% of artists around the world can't afford to gig outside their area, and this provides a lopsided touring pyramid.

The survey put together by streaming distributor Ditto Music of 1,500 independent artists found that 74.8% of acts have never toured before, which seems like a reasonable number. What was surprising is that 58.3% actually turned down touring opportunities for financial reasons. When the costs were analyzed, these artists discovered that they wouldn't even make enough money to cover expenses on the road.

Since 75% of indie artists already support their music career through personal savings (another finding in the survey), touring then becomes like an extended vacation that you can't afford. It might be okay if you have deep enough pockets to support what you're doing, but you're out of luck if your pocketbook is already dry.

The sad fact of the matter is that overall touring revenue is higher than it's ever been, but if you read that in the news you think that means it's evenly distributed across the entire artist spectrum. In reality, only the top 1% (maybe even the top 0.1%) is making most of the dough, with almost everyone else towards the bottom of the touring pyramid missing out.

So why is this happening? 
Besides the obvious increase in costs like travel, meals and lodging, the sad fact is that there are fewer venues to play, and the ones that are left aren't paying as much. Not only that, the tremendous competition for those spots mean that the venues can afford to offer less or none at all, since mosts artists will play for free just to get in front of an audience.

But don't blame the venues either. Their costs have risen considerably, from rent, to insurance, to the fact that people are drinking much less these days. It's amazing that they're able to keep their doors open at all.

The real shame of it all is that young musicians and artists no longer have the chance to hone their skills in front of an audience the way that previous generations have. That means that we'll have a generation of talent with insufficient stage time learning how to work an audience.

How does this play out?
People still love live music but they're less and less likely to seek out something that they're unfamiliar with. Add to that the fact that there are so many distractions these days that don't even require that you leave your home, which puts live music in a crisis.

Promoters will tell you that fewer and fewer new acts are capable of selling out a large venue, and if they can on one tour, they're not able to on the next. That doesn't bode well for even the top 1% in the future. 

Maybe the touring pyramid will eventually flip upside down.

Maybe...

__________  

About Bobby Owsinski

Bobby Owsinski is one of the most respected voices in music production, engineering, and the business of music. A prolific author, educator, and industry insider, he has written over 24 essential books, including The Mixing Engineer's Handbook, The Music Business Advice Book, and Social Media Promotion for Musicians. His work bridges the gap between artistry and strategy, giving musicians, producers, and engineers the tools they need to succeed in both the studio and the industry.

Through his influential Bobby Owsinski's Music Production Blog and Inner Circle Podcast, he continues to share cutting-edge insights on recording techniques, marketing, and music technology, always staying ahead of industry trends. With decades of experience, from working with major labels to advising independent artists, Owsinski remains a guiding force for musicians navigating the evolving landscape of music creation and promotion.

For more of Bobby's insights, visit bobbyowsinski.com. 

• In Memoriam— Roberta Flack (1937–2025)— a Voice That Touched Our Soul

“Though she has left this world, her music and spirit remain eternal. As long as there are love, longing, and the need for songs that speak directly to the heart, Roberta Flack's voice will never fade."
— New Music Lives™

Few artists have ever possessed the rare ability to blend soul, jazz, folk, and classical music into something uniquely transcendent. Roberta Flack, who passed away on February 24, 2025, at the age of 88, was one such artist. Her voice— both intimate and powerful— became the soundtrack of love, longing, and resilience for generations of listeners. As a singer, pianist, and interpreter of song, she shaped the music of the 1970s and beyond, leaving a legacy that continues to inspire Singer Songwriters today.

From Teacher to Timeless Icon
Born in Black Mountain, North Carolina, in 1937, Flack was a musical prodigy who entered Howard University on a full scholarship at just 15 years old. Trained in classical music, she initially pursued a teaching career while performing in Washington, D.C., clubs at night. It was in these intimate venues, particularly at Mr. Henry's, where she developed her singular sound— one that would soon captivate the world.

Her breakthrough came in 1972 when Clint Eastwood featured her rendition of The First Time Ever I Saw Your Face in his film Play Misty for Me. The song, originally released on her debut album First Take (1969), soared to No. 1 on the Billboard charts, winning her a Grammy for Record of the Year. This was just the beginning.

The Sound of an Era
Flack followed up with two more No. 1 hits: Killing Me Softly with His Song (1973) and Feel Like Makin' Love (1974). Her ability to take a song and infuse it with emotion, depth, and storytelling made her a standout among her peers. She won Grammys for Record of the Year two years in a row— an unprecedented feat at the time. With her close friend and collaborator Donny Hathaway, she created enduring duets like Where Is the Love and The Closer I Get to You.

A Musician's Musician
Unlike many of her contemporaries, Flack was not just a vocalist; she was a consummate musician. A classically trained pianist, she often accompanied herself, creating performances that felt deeply personal. Her music seamlessly fused European classical influences with gospel, R&B, and folk, making her a trailblazer in every sense.

Critics often struggled to describe the power of her understated delivery. Folklorist Julius Lester once observed, "She can take a quiet, slow song and infuse it with a brooding intensity that is, at times, almost unbearable."

Beyond the Hits: Activism and Legacy
Flack was not just a performer— she was an artist with a message. Her music often carried themes of social justice, love, and unity. She reinterpreted Broadway's Somewhere as a song of Black solidarity and was an outspoken advocate for LGBTQ+ rights, championing love in all its forms.

She was also deeply committed to education, funding the Roberta Flack School of Music in the Bronx and mentoring rising stars, including Luther Vandross. Her contributions extended beyond the stage— she was a longtime advocate for animal rights and humanitarian causes, proving that her heart was as immense as her talent.

A Lasting Influence
Flack's influence can be heard in the voices of Alicia Keys, Lauryn Hill, and countless Singer Songwriters who have followed in her footsteps. Her signature song, Killing Me Softly, found a new generation of listeners when the Fugees reimagined it in the 1990s, bringing her music back to the top of the charts.

The First Time… Ever and Forever
Roberta Flack's music wasn't just heard— it was felt. She had an uncanny ability to reach into the soul, stir emotions, and leave listeners forever changed. Even in her final years, she remained a beacon of artistry and authenticity. In 2018, she received a Lifetime Achievement Award from the Jazz Foundation of America, and in 2020, the Grammy Lifetime Achievement Award cemented her place in history.

Though she has left this world, her music and spirit remain eternal. As long as there are love, longing, and the need for songs that speak directly to the heart, Roberta Flack's voice will never fade.

Rest in Peace and Power, Ms. Flack. Your music lives on.

• The Greatest Songwriters— Tim Rice 

the Poet of Popular Music

"Tim Rice is the Shakespeare of lyricism, crafting words that not only sing but tell stories that resonate for generations." 
— New Music Lives™ 

In the realm of Songwriting, few names command the same reverence as Sir Timothy Miles Bindon Rice. While many Songwriters are known for their melodies, Rice is celebrated for his masterful storytelling through lyrics— words that have elevated music into a narrative art form. His collaborations with legendary composers like Andrew Lloyd Webber, Elton John, and Alan Menken have resulted in some of the most iconic songs and musicals of all time. His ability to fuse emotion, character, and drama into lyrics has left an indelible mark on musical theater, film soundtracks, and popular music.

From Humble Beginnings to Global Fame
Born in 1944 in Amersham, England, Rice's early career trajectory was far from the grandeur of Broadway and Hollywood. Initially working as a clerk at EMI Records, his passion for Songwriting led him to an introduction with a then-unknown Andrew Lloyd Webber. The two soon embarked on a partnership that would change the course of musical history.

"Tim Rice is one of the finest lyricists of all time— his ability to weave narrative and emotion into song is unparalleled."
— Andrew Lloyd Webber

Their breakthrough came with Joseph and the Amazing Technicolor Dreamcoat (1968)— a short school production that evolved into an internationally beloved musical. However, it was their next collaboration, Jesus Christ Superstar (1970), that catapulted them to global recognition. A rock opera told from Judas's perspective, the show was revolutionary— fusing rock music with classical and biblical themes in a way that had never been done before. It became a worldwide sensation, solidifying Rice's reputation as a lyricist who could blend depth, controversy, and catchiness into every line.

Defining an Era: The Greatest Hits
Tim Rice's Songwriting portfolio is staggering in its reach and influence. Some of his most celebrated works include:

• Don't Cry for Me Argentina (Evita, 1976)—  A sweeping anthem of power and longing, made famous by Elaine Paige, Madonna, and countless others. 

Can You Feel the Love Tonight (The Lion King, 1994)— An Oscar-winning ballad co-written with Elton John, capturing the essence of love in just a few lines. 

A Whole New World (Aladdin, 1992)— The first Disney song to win a Grammy for Song of the Year, marking a shift in the way animated films integrated music. 

I Know Him So Well (Chess, 1984)— A heart-wrenching duet, written with Björn Ulvaeus and Benny Andersson of ABBA, that remains one of the greatest musical theater ballads of all time. 

"Tim Rice has a way with words that transforms a melody into pure magic. His lyrics tell stories that last a lifetime."
— Elton John

Rice's lyrics have graced the voices of legendary singers such as Julie Covington, Madonna, Elton John, Celine Dion, and Phil Collins, each bringing his words to life in unforgettable ways.

Collaborations That Changed the Game
Few Songwriters have worked with as many musical titans as Tim Rice. His partnerships with Andrew Lloyd Webber resulted in the "Holy Trinity" of musicals: Joseph... Jesus Christ Superstar, and Evita. With Elton John, he revolutionized animated film soundtracks, crafting songs that became as iconic as the movies themselves. His work with Alan Menken on Aladdin further cemented his role in the Disney Renaissance of the 1990s.

"Working with Tim was an education in itself. He elevates every song he touches."
— Benny Andersson (ABBA, co-writer of Chess)

Rice's foray into pop Songwriting also yielded hits such as All Time High (Rita Coolidge, Octopussy) and The Second Time (Dame Barbara Dickson). His versatility in working across genres and formats— from stage to screen to pop charts—  has made him one of the most adaptable and enduring lyricists in modern history.

The Awards and Accolades Speak Volumes
Tim Rice's influence is not just recognized by fans but by the industry itself. His EGOT status (Emmy, Grammy, Oscar, and Tony winner) places him in an elite class of Songwriters. Some of his most prestigious awards include:

• 3 Academy Awards (The Lion King, Aladdin, Evita) 
• 3 Tony Awards (Evita, Aida) 
• 5 Grammys (including Best Song for A Whole New World)
• Golden Globes for his lyrical contributions to film 
• Knighted by Queen Elizabeth II in 1994 for services to music 

"Tim Rice's lyrics capture the essence of every character, every moment. That's why his songs don't just last— they live."
— Phil Collins

Beyond personal accolades, his works have grossed billions of dollars worldwide, proving that great lyrics are not just poetic but profoundly profitable.

A Legacy Beyond Music
While Tim Rice is best known for his music, his influence extends beyond the stage and studio. He has championed various educational and charitable causes, particularly in the fields of literacy and music education. His autobiography, Oh, What a Circus, offers an insightful and often humorous look into the highs and lows of his legendary career.

"Tim's words gave Evita her voice. His lyrics are a masterclass in storytelling through music."
— Julie Covington (original ‘Evita' lead)

In his personal life, Rice has largely stayed out of the tabloid spotlight. He was married to Jane McIntosh from 1974 until their separation, and they have two children. While he has faced some criticism for his sharp wit and candid opinions on the music industry, his legacy remains untarnished— one of a craftsman whose words have shaped the emotional landscapes of millions.

"Tim understands that a great song isn't just about rhyme— it's about depth, character, and heart."— Alan Menken

Tim Rice's Influence on Future Songwriters
His storytelling prowess has paved the way for modern musical theater giants like Lin-Manuel Miranda (Hamilton), Pasek and Paul (The Greatest Showman), and others who have drawn from his ability to blend character depth with lyrical brilliance. He has proven that lyrics are not just filler between melodies— they are the heartbeat of a song.

As long as audiences continue to be moved by music that tells a story, Tim Rice's songs will endure. His influence is evident in every aspiring Songwriter who strives to craft lyrics that not only rhyme but resonate.

in partnership with Ian Temple and Soundfly

• Guest Article— Wait! What? Even Rock Stars Have a Boss? by Derek Sivers from his 'must have book' Your Music and People: Creative and Considerate Fame.
__________   

Rock Stars Have a Boss?
I was 20 years old. I had just moved to New York City. And I was working inside the music industry.

I ran the music library at Warner/Chappell. It was a huge room, near the executives' offices, and I had it all to myself.

Rock stars would come into my room before or after their meetings, to wait or relax. 
Because I was just some nobody working in the library, they would often speak candidly.
What surprised me was this:

These rock stars' biggest complaints were about the things they were forced to do, or not allowed to do! 

Things like, "I think the album is perfect and finished, but the label says they don't hear a hit, so they're making me co-write." Or, "I wanted to make a video with this director I admire, but the label won't let me."

I had always assumed that rock stars were the top of the food chain. It was weird to realize they had a boss!

But that's the trade-off when you sign away your rights.

The independent music revolution was so exciting because thousands of musicians were realizing that they didn't need to sign these kinds of deals anymore. They didn't need labels, distributors, publishers, or anything else to get their music to the public.

But years later, I still hear people making that trade-off. Giving up their rights and serving a company, in hopes of a greater reward.

• authors who act like Amazon is the boss
• web designers who act like Google is the boss
• promoters who act like Facebook is the boss

But you only have a boss if you choose to!

Nobody is making you serve these masters. Of course, if you don't want a boss, then everything is up to you. Less promotion, but more freedom. Less help, but keeping all your rights. Riding the back roads, not the highway. Serving no one but yourself.

Never forget you have the choice.

__________  

About Derek Sivers and Your Music and People

Derek Sivers is a visionary thinker, musician, entrepreneur, and the founder of CD Baby— one of the most game-changing platforms for independent artists in the digital age. 

His insights have shaped the way musicians navigate their careers, blending creativity with practical wisdom to empower artists in an industry often clouded by confusion.

His book, Your Music and People: Creative and Considerate Fame, is a must-have for any musician, Songwriter, or creative entrepreneur serious about making an impact. More than a guide to success, it's a philosophy— one that emphasizes generosity, authenticity, and out-of-the-box thinking to build a lasting career in music. Sivers distills decades of experience into powerful, bite-sized lessons that challenge conventional wisdom and inspire bold, independent action.

If you're looking for a book that doesn't just tell you what to do but reshapes how you think about your music, your audience, and your place in the world, Your Music and People is essential reading. It's the kind of book that shifts perspectives, sparks ideas, and gives you the confidence to carve your own path— on your own terms.

For more of Derek's wisdom, visit sivers.org.

• PS from PS— Reclaiming the Road: A Call for Revolution in Music Touring

I read Bobby Owsinski's piece in this issue with my blood pressure rising with each paragraph. 

• 82% of indie Singer Songwriters unable to afford touring...
• 58.3% turning down opportunities because they couldn't cover expenses...

This isn't just a problem— it's a catastrophe! 

Let's call this a spade: the systematic dismantling of music's most vital pathway to growth and success. 

For generations, touring wasn't just how artists made money— it was the crucible where they forged their identity. Where raw talent was transformed into captivating artistry. Now we're creating a musical desert where only the ultra-successful can tour. 

This Is Unacceptable
How have we allowed the industry to deteriorate to this point? The pyramid Owsinski describes— where the top 1% reaps almost all touring revenue while the foundational 99% struggles to leave their zip code— isn't just unfair. It's unsustainable.

I'm furious that we've normalized this structure where:

• Young Singer Songwriters can't develop their performance skills through touring
• Mid-career musicians abandon the road because the math doesn't work
• Venues can't afford to pay fair rates because their margins are razor-thin
• Audiences increasingly miss discovering new music through live shows

It's Time for a Change. Big Time. Past Time.
The current model is broken. Beyond repair. When 75% of indie Singer Songwriters are funding their careers through personal savings while simultaneously being unable to tour, we don't need incremental changes— we need a revolution.

Solutions That Match the Scale of the Problem
I refuse to accept this reality as inevitable. Here's what real change could look like:

Community-Based Touring Networks
We need to rebuild touring infrastructure from the ground up. Imagine networks of small venues, house concerts, and community spaces that work cooperatively rather than competitively, sharing resources and audiences to create viable touring circuits for developing artists. Think of it as a musical underground railroad, helping artists reach new audiences affordably.

Fan-Funded Tour Support
What if fans could directly invest in bringing Singer Songwriters to their cities? Platforms that allow fans to pool resources to cover an artist's base expenses could eliminate the financial risk that prevents most tours from happening. When 1,000 TrueFans each contribute a small amount, suddenly touring becomes viable.

Touring Collectives
Singer Songwriters need to (pun intended) band together. By sharing transportation, equipment, promotion costs, and even performance slots, musicians can drastically reduce individual expenses while expanding their reach. These collectives could negotiate better terms with venues by offering package deals that deliver value to all parties.

Venue Revitalization Programs
We need policies that recognize music venues as cultural assets worthy of protection and support. Tax incentives, grant programs for venue improvements, and zoning protections could help stem the tide of closures while making it more feasible for venues to pay artists fairly.

New Models for Live Performance
The traditional touring model itself needs reimagining. Multi-day residencies (instead of one-night stands) reduce travel costs while creating deeper connections with local audiences. Virtual components can supplement in-person shows, creating hybrid revenue streams that make touring financially viable.

This Can't Wait
Every day this broken system continues, we lose potential brilliance. How many transformative Singer Songwriters will never develop because they can't get the stage time they need? How many communities will miss experiencing live music because all the venues closed? How much poorer will our cultural landscape become?

I refuse to accept a future where live music becomes a luxury experience available only to the wealthiest fans in the biggest markets, featuring only the most commercially successful artists.

It's time to rebuild. It's time to reclaim the road for all artists. It's time to create touring models that serve the many, not just the few.

It's Time... for a Change. Big Time. Past Time.

The solutions exist if we have the courage to implement them. 

It's Time… To. Get. To. Work! 

Until we speak again...

Thanks for reading. 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...