What would make a music publisher stop your song before it’s even over? That’s exactly what we explored in our most recent Behind-the-Scenes (BTS) Experience at SongU.com.

Music publisher Bob Dellaposta (My3Kids Music) joined us in the e-classroom and listened in real-time to the songs our members pitched for Tim McGraw. After each song, he explained why he marked it yes, no, or maybe. It was a rare chance to hear his unfiltered thought process as he listened to multiple songs to narrow down his pitch selection for a particular artist. This is the kind of feedback you almost never get to witness.

One of our members, Betty Holt from NC, summed it up perfectly:

“Bob was excellent at explaining his reasons for rejecting songs. In most cases they just weren’t right for Tim McGraw but might have worked for someone else. It helped me see that rejections are usually not rejections of my ability as a songwriter, but just not appropriate for a particular artist.”

I love the way Betty put that. It’s such an important reminder: No doesn’t necessarily mean your song isn’t good. More often, it means it’s not the right fit for that artist at that time.

So what made Bob turn off a song early? He gave us some clear examples:

• He quickly stopped one song because “Tim McGraw isn’t going to sing a song about his exes. Tim is happily married to Faith Hill, and it just wouldn’t be true to who he is.”
• He turned off another song because, while it was well-written, it was patriotic. Bob explained that he’s never heard Tim do a patriotic song, so it felt out of character.
• Other songs were cut short because they were in styles and genres that Tim doesn’t typically record, such as tropical pop/reggae, Americana, or Folk.
• And when I asked Bob the big-picture question, what are you really listening for today? His answer was simply: “I’m looking for Tim’s next big hit. Not album fillers.” He said that he’d want to hear songs that are positive, songs with emotional impact that move him, and that will move listeners.

Bob also reminded us that he holds himself to the same standard as any other writer. The moment he recognizes something out of character for the artist, he’ll turn a song off, even if it’s his own.

To summarize, what Bob is describing is the importance of looking critically and objectively at your own songs when pitching for a specific project or artist. Read the pitch listings and briefs carefully. Research the artist by listening to their songs. Two simple questions can make all the difference: Does my song have lyrics that they can honestly relate to? And, is the music and style true to who they are?

As you keep writing and pitching, I encourage you to look at your songs through the artists’ eyes. In other words, instead of imagining what the artist can do for your song, ask what your song can do for the artist.

If this topic resonates with you, you’ll definitely want to check out our DIY Podcast course: SONG 270W Songs In The Spotlight: How To Write Songs That Artists Want to Sing. In it, hit singer/songwriter Craig Bickhardt shares practical tips and techniques that can help you write for and pitch to artists.

I understand how hard it can be to step back and be objective about your own songs – they really do feel like our “babies.” Just remember, we’re on your team at SongU. If you’re not sure whether a song is ready to pitch, come join us in one of our Song Feedback Courses to get an objective perspective from your peers and mentors.

Keep writing, keep refining, and most of all, keep believing in yourself. You got this!