the TrueFans AMP— Issue 109

"Darlin', there's room at the table. Pull up a chair, write something honest, and wear whatever makes your soul sparkle. If you can't find the door, sing one into being."
from an Imagined Coffee with Dolly Parton

In This Issue... 15 pages (about 22ish minutes to read) You'll Get...

• RECOMMENDS— ReverbNation and the Artist-First ToolKit

• Your BIZ— Real People. Real Energy. Real Connections by Kevin Breuner of ReverbNation

• The Greatest Songwriters of All Time— Claude “Curly” Putman Writing the Songs That Taught Country How to Feel

• in partnership with the Jim Parker Songwriter Series

• Feature— an Imagined Coffee with Dolly Parton by John Fogg with Chat GPT

• PS from PS— Your Art Is Your StartUp 

Here’s the playlist

If you're a Music Artist looking for a one-stop hub to grow your career, ReverbNation has earned its place as one of the most trusted resources out there. Since 2006, millions of Music Artists— from emerging Singer Songwriters to seasoned bands— have used the platform to get their music heard, connect with fans, and access industry opportunities.

One thing that makes ReverbNation stand out is its Artist-First ToolKit:

They also run an opportunity submission system— basically an open door to festivals, labels, music supervisors, and promoters that normally wouldn't even take your call.

For those of you ready to lean in further, ReverbNation offers subscription tiers beyond the free account. With a premium plan you unlock full distribution, advanced marketing tools, deeper analytics, and priority access to those career-changing opportunities. Think of it as an affordable way to put a professional team in your corner— without the middleman.

And here's where this connects to our mission at TrueFans AMP™: ReverbNation isn't about chasing millions of casual listeners— it's about helping you find and nurture the right listeners. The ones who stay, support, and grow with you. In other words, it's a practical pathway toward building your 1,000 True Fans. Connect at reverbnation.com

• Your BIZ—  Real People. Real Energy. Real Connections by Kevin Breuner of ReverbNation

Why booking live shows is more important than ever!
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The past few years have seen the music industry focus on platforms like TikTok and Instagram, as well as social media in general. It started to feel like social media following and an artist's branding was everything. 

Post the right TikTok, go viral, and suddenly you're the next big thing!

However, more and more artists are realizing that social media does not always translate into dedicated TrueFans. An age-old strategy is having a serious comeback as music lovers look for an opportunity to put their phones down; that strategy is live shows.

Real people. Real energy. Real connections.

While playlisting and streaming are still key parts of a modern release strategy, live performance is where true long-term fans are made. It's one thing to get 10,000 streams on a track, it's another to have 20 people come up to you after a performance saying, "That song hit me."

The impact of live music isn't just about performance, it's about presence and connection. When someone sees you on stage, hears your stories between songs, and feels your music in a room full of people, that memory sticks. It's sticky in a way a scrollable feed just… isn't.

But here's the hard part: 

How do you actually get those shows?

The reality is, booking live gigs is still one of the most confusing parts of being an independent Music Artist. These days it requires a significant social buzz or prior tour history to get a booking agent to even glance in your direction. Agents want to see proof that you have potential to generate ticket sales so they can be confident taking a bet on signing you. The alternative is doing it yourself. Some artists rely on friends. Some cold-email venues. Some send 100 DMs and never hear back. It's exhausting.

Unfortunately, most traditional resources out there, like Pollstar, forums, and booking databases, are outdated, generic, or just not built for emerging artists.

The truth? There's no one-size-fits-all strategy. But there is a better approach.

Start with similar artists
One of the smartest ways to book shows right now is by reverse-engineering the touring path of artists who are one step ahead of you.

Think about it: if there's an artist in your scene who has 2x your monthly listeners, makes similar music, and has played five shows in your region, chances are those venues could work for you too.

It's not about copying, it's about understanding the landscape. You're not guessing where to play. You're using data to make targeted and strategic moves.

Building your booking network
Once you've identified the right venues, it's all about contact. Not just emailing "[email protected]" and hoping for the best, but finding the actual talent buyer,  promoter, or booker for that space.

Treat your booking outreach like you would with playlist curators: human, respectful, and specific. Mention why you'd be a great fit. Reference other acts they've booked. 

Keep it real.
Relationships matter in booking just as much as they do in streaming. Talent buyers are people, too. They want to know you're professional, prepared, and bring something their audience will connect with.

Make your outreach count
Here's a quick booking checklist:

• Don't just mass-email. Curate your pitch based on venue, city, and acts they book.
• Include links to your best live footage, not just Spotify.
• Mention any local draws or previous shows in the area.
• Show that you've done your homework on the venue or promoter.|
• Follow up (but don't spam).

And remember: the goal isn't just a gig, it's the right gig. Playing the right room in front of 40 engaged people can do more than being ignored by 400.

Why live shows still matter
Because at the end of the day, live shows are where your TrueFans are born.

They're where strangers become followers, followers become ticket buyers, and ticket buyers become street team-level advocates. They'll stream everything, buy merchandise, and bring friends to the next show. And they'll remember you.

You can't fake that. You can't automate it. You just have to show up.

One tool that helps
If you're serious about playing more shows and want to make that "reverse-engineer other artists' gigs" strategy work, there's a tool we've been seeing a lot of indie artists use lately: Booking-Agent.io. [There's a two week try out available for $24.99.]

It's basically a real-time search engine that helps you discover venues, talent buyers, and event promoters based on where similar-sounding artists have already played or by a specific city and genre. Not a directory, a dynamic, live tool that pulls up the data and contacts you actually need.

It shows venue info like capacity, promoter emails, and even has a map view to help route your tour.

It's not going to do the work for you. But it will save you hours of digging and help you focus on gigs that make sense for your sound and level. The rest is on you.

If you're ready to stop guessing and start building your live presence in a real way, it's worth checking out.

Because no matter what happens with the algorithm this year… there's still nothing more powerful than being in the room with your audience.

Your future fans are out there... 

Waiting to hear you perform live.
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About Kevin Breuner & ReverbNation

Kevin Breuner is a songwriter, podcaster, and long-time champion of independent musicians. As SVP of Artist Engagement and Education at ReverbNation, he brings decades of experience helping artists navigate the ever-changing music industry. Kevin has also walked the artist's path himself— earning a Grammy nomination with the band Smalltown Poets and touring extensively. Through his work, he continues to bridge the gap between musicians and the opportunities that can sustain their careers.

ReverbNation has been empowering artists since 2006 with tools for distribution, promotion, fan engagement, and access to industry opportunities. They remain one of the most trusted platforms for artists serious about building their careers. (Learn more in this issue's RECOMMENDS column.)

• The Greatest Songwriters of All Time— Curly Putman, Writing the Songs That Taught Country How to Feel

"If there's emotion in a song, Curly Putman probably put it there— and that's why he's indelibly in the pantheon of our greatest Songwriters ever."

The Heartbeat of a Songwriter
Claude "Curly" Putman Jr. (November 20, 1930— October 30, 2016), born atop Putman Mountain in Princeton, Alabama, rose from sawmill-working roots and Navy service to become one of the most compelling voices in modern songwriting. After moving to Nashville as a Tree Publishing plugger [see the sidebar right below] he penned Green, Green Grass of Home in just two hours— sparking a career that would reshape country music.

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Tree Publishing was one of Nashville's most powerful music publishing houses (Tree International, founded in 1953 by Jack Stapp and Buddy Killen, later bought by Sony/ATV). They published hits for everyone from Hank Williams to Elvis to George Strait.

A plugger is essentially a song promoter. Their job is to "plug" songs to recording artists, producers, and labels— pitching them to get cut and released. Think of them as a hybrid of salesperson + evangelist for songs. They'd walk into studios, offices, even chase down artists backstage, saying, "You gotta hear this song— it's perfect for you."

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A master of heartbreak and longing, Curly captured universal emotion with remarkable clarity. In his own words:

"...everything I write is pretty sad. I believe that touches people of all kinds. Green, Green Grass of Home and He Stopped Loving Her Today were people-type songs, not just something that's gonna be out there one day and gone the next."

And speaking of authenticity:

"If you have a song that you can feel, it inspires you... The better ones come when you really feel it."

Greatest Hits & Legacy-Tracks

Green, Green Grass of Home was released in 1965 by Porter Wagoner (#4 country), adopted by Jerry Lee Lewis, then turned global by Tom Jones in 1966–67 (No. 1 UK for seven weeks, No. 11 US pop) Covered by more than 400 artists— including Elvis Presley, Johnny Cash, Joan Baez, Merle Haggard, Grateful Dead— its poignant twist and emotional core made it timeless.

"Green, Green Grass of Home was the people's song, because it's been with him all over the world."
— Tom Jones

My Elusive Dreams
Co-written with Billy Sherrill, his 1967 solo version charted modestly— but Tammy Wynette & David Houston took it to #1, launching Wynette's career. 

D-I-V-O-R-C-E
Co-written with Bobby Braddock, it became Tammy Wynette's #1 in 1968 and earned CMA, ACM, and Grammy nods. 

"Putman's lonesome-sounding voice took the song's meaning to a new level."
— Bobby Braddock on D-I-V-O-R-C-E

He Stopped Loving Her Today
This country classic, also co-written with Braddock, reinvigorated George Jones's career and won CMA, ACM Song of the Year in 1980–81, plus multiple awards; now held in Grammy Hall of Fame. 

Other notable successes include Dumb Blonde (Dolly Parton's first hit, 1967), It's a Cheating Situation (ACM Song of the Year, 1979), and Blood Red and Goin' Down (Tanya Tucker, #1). His songwriting continued delivering hits across decades— even into the 1990s, with artists like Ricky Van Shelton and Doug Stone covering his work.

Awards & Honors

His legacy is physically etched in his hometown: a state route and community park bear his name. Even Paul McCartney & Wings were inspired by a stay at his Tennessee farm to write Junior's Farm. 

Collaborations & Influence
Often dubbed "the song doctor," Putman had a knack for turning ideas into hits while crafting empathy-laden songs. His creative partnerships with Braddock, Sherrill, Throckmorton, and others produced not just hits but connective tissues in Nashville's songwriting community. 

"We've lost a great man and incredible friend… Curly wrote some serious classic songs and will live on through their legacy." 
— Slim Lay of Huntsville, Alabama

His influence rippled through generations of Singer Songwriters— few could parse sorrow so tenderly. Few matched his ear for truth cloaked in melody. Dolly Parton, George Jones, Tammy Wynette, Kenny Rogers— all brought his songs alive and carried his storytelling to millions.

"A song you can feel — that's the Curly Putman mark." 
— Country Music Hall of Fame

Personal Life & Roots
Born to working-class parents, Putman served aboard the USS Valley Forge during the Korean War before returning to Alabama, where he taught, coached basketball, and played steel guitar while working odd jobs and struggling toward Nashville fame. In 1956, he married Bernice Soon, and they remained together for decades.

His rural, blue-collar background and steady personal life gave authenticity to his songs— built not on glamour, but on hard-earned empathy.

Enduring Legacy
Curly Putman's craft was foundational: he dared to mourn beautifully, to write from a place of heartfelt sorrow that everyone could hear. His songs transcend eras, and his influence still resonates with anyone writing from the soul.

"I wrote the best song I ever wrote and didn't know what I was doing ... I almost cried."
—Curly Putman on writing Green Green Grass of Home

in partnership with the Jim Parker Songwriter Series

• Feature— an Imagined Coffee with Dolly Parton by John Fogg with Chat GPT

ED NOTE: Last issue's first a Coffee with Leonard Cohen was enough of a hit, we decided to give it another go. Let's us know what you like most and if we should continue the idea. Nobody else is doing it, so... (age old wisdom) 'When in doubt be different.' May be good advice for Musical Artists, too. AND... 

PLEASE NOTE: This is a creative homage— an imagined conversation in the spirit of Dolly Parton. It's fiction. We made it up with the best intentions. No participation, approval, or endorsement by Dolly or her estate is implied. Real quotes (if any) are cited; otherwise the words are invented for artistic and educational purposes to Inform, Involve and Inspire TrueFans AMP™ Music Artists. Have fun!.
— JF
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The diner smells like bacon and fresh coffee. Midday light stripes the vinyl. Dolly slides into the booth, rhinestones winking under the neon, and folds her hands around the mug like it's a prayer she's said before.

If you had to name the heart of your writing— what is it?

Truth you can hum, she says, easy as a front-porch breeze. A good song is plain talk that carries more than it says. You tell the truth the way a mama would— kind, but not so soft it turns to sugar. If it's true and it sings, it'll find its people.

You're famous for hooks. How do you catch one without grabbing at it?

I don't chase 'em— I notice 'em. Hooks are handles for heavy feelings. They show up at the oddest times: grocery aisles, church bulletins, a joke somebody tells wrong. I keep titles the way some folks keep coupons. And I test 'em out loud. If a title needs an explanation, it ain't a title yet.

Your stories feel lived-in— never vague.

Details make the heart believe. Don't tell me you're poor; show me the coat patched with a bathroom curtain. Don't say you're lonely; let me hear the ice clink in one glass. I write like I'm making a quilt— little pieces from real life, stitched neat so the draft doesn't get in.

Honesty can hurt. How do you tell the truth about someone without wounding them?

I sing the feeling, not the verdict. Change the name, keep the mercy. Grace. A song can be a salve if you write it with clean hands. The world's got plenty of sharp edges already.

Structure— what keeps a song standing?

Chorus is your porch light. It's what folks come back to. Keep it clear and keep it singable. Verses are the walkway; each one should bring you a step closer, not circle the yard. And a bridge is where you set down what you were too polite to say before. Two lines can open a whole house.

Any melody wisdom that's more soul than science?

Don't be afraid of simple. If your grandma can hum it while she's shellin' peas, you've done something right. Let your long notes land on open vowels— ah, oh— and don't crowd the breath. A melody is a handrail. It ought to hold.

Co-writing— how do you keep kindness from turning into compromise?

Kindness ain't the same as easy. Set your room rules before you get clever— who's driving, how we split, how we say no. Then be generous with options and stingy with keepers. The best co-writes trust enough, feel safe enough to try the fool idea and brave enough to cut a pretty line that don't belong.

Your public image is playful, but your compass runs deep. How do you hold both?

Style is the wrapping; spirit's the gift. I've always liked a little sparkle—y ou can see me from the cheap seats— but the shine's just the sign on the door. When they come in, I want 'em to find food on the table: craft, care, and a place to set their own story down.

Business advice for young artists who are eager and vulnerable.

Know what you're saying yes to. Your publishing is the deed to your house— read every line like you're protecting your family. Ask plain questions till you get plain answers. If a deal costs you your voice, it's too expensive. The right yes will still be there tomorrow.

Performance— what turns a show into a memory?

Hospitality. Treat the crowd like company. Look 'em in the eye. Tell a quick story that sets the song without explaining it to death. Give them one quiet moment they can hold and one chorus big enough to carry home. Leave a little room for laughter— sad songs breathe better that way.

Work ethic— what does your real week look like?

I keep hours like a farmer. Early is gold. I set small honest quotas— one finished page, one clean verse. I don't wait on a muse; I leave the door cracked open and the light on. And I capture everything. Good lines don't call ahead.

When a song won't come?

Make it smaller. Write one true couplet before coffee. Or put a fence around it— eight syllables a line, plain words only. Constraints ain't jail; they're a garden fence. They keep the goats out so the tomatoes can grow.

Your songs hold pain and hope in the same hand. How do you do that without lying to one or the other?

I let sorrow tell the truth and let hope set the table,. If a song won't sit with you in the dark, I don't trust it. But I'm not building a house there either. I write like the sun is coming up— maybe not this minute, but soon.

Any rules for rhyme and meter that aren't just technical?

Rhyme should help, not boss. If the perfect rhyme steals the heartbeat, change it. As for meter— talk your lines. If your mouth trips, the line's lying. Fix it. Your breath knows when something's true.

Legacy, generosity, lifting others— how does that live in the writing?

Love is a habit. Put it in the schedule. Brag on another writer's line. Share your stage when you can. A little encouragement can halve the weight somebody's carrying. Songs are hand-me-down courage; make sure yours fit more than just you.

Three habits a working songwriter can start this week.

Alright. Three you can actually do, she says, counting them out with her spoon.

Title Pages: Fill one page of titles every day for a week— no judging. Saturday, pick one and finish the song, pretty or not.

Chorus Mirror Test: Sing your chorus to your own eyes. If they don't feel it, change the words, not the volume.

Kitchen Demo: Voice and one instrument, one take. If it can't live in the kitchen, perfume in the studio won't save it.

One question to ask yourself when you're editing.

What am I keeping to sound clever? Then go on and cut it. The song will breathe easier.

Last thing— what do you owe the listener?

A place to stand. Leave a little room in the lyric so they can move in with their own story. That's the miracle: you write your truth plain, and somehow it fits a stranger just right.

She reaches for her bag, lays a (too much) tip under the mug, and smiles the way stage lights love. 

Darlin', write something honest. And if you can't find a door today, hum one. Sometimes that's all it takes to get inside.

• PS from PS— Your Art Is Your StartUp 

Four decades of watching extraordinary musicians struggle in empty rooms taught me something I didn't see coming.

The revelation didn't arrive in dimly lit venues or late-night conversations with brilliant artists wondering why their gifts couldn't find the world. It came while watching a startup founder present her third iteration to skeptical investors— her vulnerability, her unshakeable belief despite rejections, how she'd completely reimagined her approach based on feedback from strangers who might never become customers.

I was witnessing every conversation I'd ever had with a Music Artist I believed in.

The parallels were both present and profound. 

I thought of Maya, whose voice could transform restless crowds into cathedrals of silence. Performing the same songs to the same small gatherings for two years— treating her music as art in isolation rather than recognizing she was building something that needed to reach people who didn't yet know they were searching for it.

Meanwhile, other artists with less conventional talent were systematically exploring venues. Observing which songs created genuine connection. Evolving based on authentic audience response. They were unconsciously embodying every principle driving successful entrepreneurs.

When I shared this framework with Music Artists whose work moved me, they transformed. 

Instead of asking How do I get discovered? they wondered Who am I truly serving? 

Rather than lamenting Why don't people understand my art? they explored What emotional territory am I helping people navigate?

Here's the deeper truth: both Musical Artists and entrepreneurs are architects of transformation. 

Your music is your product, but your true work is human transformation.

You're not waiting to be discovered. You're creating something worth finding— something that finds the people who need it most.

Your art is your startup. Your audience is waiting for the solution only you can provide.

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...