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.
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!
I recently caught up with songwriter Melyssa Corrigan, the winner of our Fall 2024 Special Event Pitch with hit songwriter and producer Michael Jay. (View Melyssa’s SU member website.) She was thrilled with the professional co-writing experience that followed. Michael included his frequent co-writer, pro singer/songwriter Scott Barrier, as a third collaborator. Below, Melyssa shared the original voice memo they used to kick off the co-writing session and the studio demo of the final song.
The Co-Writing Experience
“It was a pleasure to write with Michael and Scott! They were warm and laid back and clearly both experts in their respective crafts. It was a thoughtful and efficient session and I sense we have a strong song on our hands. So grateful for the opportunity!!” — Melyssa
Michael Jay agreed. After the session, he told SongU they had written “a fantastic song” and planned to demo it.
Q&A with Melyssa: How the Song Took Shape
Q: How did you prepare for the session? “I sent Michael a voice memo of a song start that had been running through my head for a while. I suspected he’d be just the right fit for it. Turned out he liked the concept and we rolled with it.”
🎧 Listen to Melyssa’s Voice Memo Song Starter:
Q: How did the co-writing session come together? “When we first started setting up the session, Michael suggested inviting Scott Barrier, a writer he collaborates with often. Scott was fantastic and offered some really great lyric ideas, and worked out the melody with Michael. He seems to be a very active writer who is often out at writer’s rounds, etc.
Q: Did you feel comfortable during the co-write? “Completely. Both Michael and Scott were warm and welcoming and the write itself was professional and efficient yet relaxed.”
Q: Did you take away any key writing lessons? “Michael and Scott did a great job of steering me away from being too specific in the lyrics to broaden the appeal and make the song work for a greater variety of artists.”
Q: That makes sense. I noticed that you removed “Mrs. and Mr.” from the original voice memo for that reason. What else did you learn from the experience? “To keep an open mind and allow them to do what they do best in order to elevate the song.”
Q: Do you have any final thoughts? “Very GRATEFUL for the opportunity and loved it!”
Song Evolution: From Voice Memo to Demo
Here is the final studio demo of the song, featuring vocalist Katie Ohh. It was based on the original voice memo Melyssa sent to Michael Jay, which sparked the idea.
🎧 Listen to the Final Demo: “What If It Was Me”:
Why This Demo Works (Even Without a Full Band)
Even though the final demo is a simple guitar/vocal recording, the professional quality of the guitar playing and Katie Ohh’s expressive vocals bring the song’s emotion to life. This is an important insight for songwriters: you don’t always need a full band production to show your song in its best light. A well-executed guitar/vocal demo can be just as effective and pitchable.
Congratulations to Melyssa! We’re proud of how she represented the SongU community!
In Case You Missed The Big Reveal with Michael Jay …
A unique aspect of all of our Special Event Pitches is the one-hour educational session leading up to announcing the winner, which we call The Big Reveal. Here’s a 20-minute recap of the exciting Rising Star Contenders Countdown leading to the winning song of the Golden Ticket with Michael Jay. Along the way, Michael gave truly actionable tips about writing standout songs. Hear them now in Episode One of our brand-new SongU Podcast!
The challenge of responding to the rapid rise of AI in song creation is an ongoing discussion in both the music industry and at SongU. Legal and philosophical considerations enter the conversation, creating differing responses, interpretations, and confusion. Several of the legal implications, including intellectual property rights, the use of AI models trained on copyrighted material, and what constitutes human expression, are still to be determined.
But we do know some things. In late January 2025, the official report by the Register of Copyrights, Copyright, and Artificial Intelligence, Part 2: Copyrightability, released new information and guidelines that help clear up some of the legal questions, including a critical one – “Can my AI-generated songs be copyrighted?”
Since this is a rapidly changing subject, this document is not meant to be legal advice. Instead its purpose is to explain how and why we’ve adopted our policies regarding AI at SongU. When in doubt, you should always contact a qualified entertainment attorney who specializes in intellectual property or copyright law.
Ok, let’s address the copyright question and other questions that have been commonly asked at SongU.com in recent weeks.
Copyright protects your creative work and ensures that you, the songwriter, can control how it is used, performed, and licensed. Without copyright protection, anyone could use your song freely, including for commercial purposes, without your permission. Technically, the moment you create and fix your song in a tangible form (such as writing it down or recording it), it is automatically protected by copyright. However, registering your copyright with the U.S. Copyright Office provides official proof of ownership and strengthens your legal standing in case of a copyright dispute.
If you transfer or assign your copyright ownership to a music publisher, the publisher gains control over how the song is used and licensed. In this case, the publisher receives the publisher’s share of royalties while you continue to receive the writer’s share.
Here’s a real-world example:When Paul Simon wrote, recorded, and published The Sound of Silence in 1964, he had no way of knowing that in 2015, the hard rock band Disturbed would re-record (“cover”) and release it as a single. Their version became a hit and reached #1 on the Billboard Hard Rock Chart. Because Paul Simon was the copyright owner at the time, he received royalties from the song’s performance and mechanical licenses. In 2021, Paul Simon sold his entire songwriting catalog to Sony Music Publishing for approximately $250 million. As a result, Sony now owns the copyright to The Sound of Silence and his other songs. Moving forward, Sony—not Paul Simon—will collect all publishing income and control how his songs are licensed or used while Paul Simon continues to collect the writer’s share of the income.
What’s the correct terminology to use?
Misinformation and incorrect terminology about a song’s copyright often leads to confusion. So, first we need to agree on clear definitions.
Music – A sequence of sounds arranged in a melodic structure. When human-authored, a melody is copyrightable as part of a song. Note that production, demos, chords, and arrangements are not copyrightable since copyright protects a melody’s specific expression, not general musical ideas or styles.
Lyrics – Words intended to be paired with music. When human-authored, lyrics are copyrightable and may be protected separately from the melody.
Song – A composition consisting of both melody and lyrics. When human-authored, the melody, lyrics, or entire song can be copyrighted individually or together. AI-generated melodies or lyrics alone are not copyrightable under current U.S. law.
Demo – A demonstration recording of a song (melody + lyrics) to showcase the composition before full production. If AI generates any part of the melody, the result is an AI-assisted composition—not just a demo. In this case, saying that AI was used “only for the demo” is misleading.
Production – The instrumentation and arrangement in a recording. While production affects the final sound, it does not determine the copyrightable composition (melody + lyrics). A human-authored sound recording (master recording) can be separately copyrighted, but this is distinct from the song’s underlying composition copyright.
Ownership – Paying for an AI-generated song (e.g., via Suno) does not grant copyright ownership. AI platforms may provide usage rights under their Terms of Service, but under current U.S. Copyright law, only human-authored works are eligible for copyright. AI-generated music cannot be legally “owned” in the same way as human-authored compositions.
Public Domain – Works free for public use because they are no longer protected by copyright, were dedicated to the public domain, or were never eligible for copyright (e.g., AI-generated works under current law).
What’s the big deal about using AI-generated music and lyrics?
Now that we understand copyright and the correct terminology, let’s talk about what happens when AI-generated music and/or lyrics enter the picture. As of January 28, 2025, the U.S. Register of Copyrights ruled that AI-generated works (lyrics or melody) cannot be copyrighted unless there is a “sufficient amount of human expression.” If AI generates any part or all of your melody based on your lyrics, the AI-generated portion is not eligible for copyright. Even if an AI Platform’s Terms of Service allow you to use AI-generated material commercially, according to the U.S. Copyright Office, you cannot claim ownership or copyright on that material because it lacks human authorship.
Back to Paul Simon. If generative AI existed when Paul Simon wrote The Sound of Silence, and rather than writing his own original music, he let AI generate the music, the resulting music would not have been eligible for copyright protection. Since there would be no human author, it would have no legal owner and, like an uncopyrightable work, could be used by anyone without restriction. Anyone could use that music for their own purposes and profit. They could even add their own human-authored lyrics to it, in which case their new lyrics would be eligible for copyright protection, but the underlying music still would not be since it was rendered by AI, not written by a human.
Does re-working AI-generated music or lyrics make them mine and eligible for copyright?
Making edits to AI-generated material does not grant full copyright ownership, nor does “putting your own spin” on the production. Only the portions that you change with significant human transformation are eligible for copyright protection—AI-generated portions remain ineligible. Modifications or rearrangements are not enough to establish human authorship.
What If I used prompts to get the music or lyrics exactly how I want? According to the U.S. Copyright Office, if you write only the lyrics and AI generates the music, you can only copyright the lyrics, not the melody or the full song (lyrics + melody). Similarly, if you compose the melody but use AI to generate the lyrics, only the melody is copyrightable. Prompting AI to generate a melody or lyrics—no matter how detailed —does not qualify as human-authored.
An analogy:Let’s say you’re a woodworker who designs and handcrafts furniture. Your handcrafted furniture, designed, shaped, and built by a human, is considered an original work of craftsmanship and can be copyrighted. Compare this to a person using a computer-controlled furniture-making machine (a CNC) that automatically carves, shapes, and assembles furniture based on digital instructions. While you provide input, the machine is doing the creative execution.
In the same way, writing lyrics or a melody yourself is like handcrafting furniture—you’re the creator, and it’s copyrightable. However, prompting AI to generate a melody or lyrics is like inputting a design into a CNC machine. It follows your instructions, but you are not considered the creator under copyright law.
I’m a lyricist who does not write the music. When can I claim a copyright to a song?
Is there a problem with using AI to demo my song?
This question has both legal and philosophical considerations. A demo is a recorded version of a song (melody + lyrics) used for pitching or reference. If AI is used only for demo production (e.g., AI-generated vocals or backing tracks), but a human (or humans) wrote the underlying song (melody + lyrics), the song itself remains copyrightable. However, the AI-generated elements of the demo are not eligible for copyright protection as a sound recording because they lack human authorship.
Using AI to create a demo for a song you wrote (melody + lyrics) is generally acceptable, much like hiring session musicians to record a demo. The key distinction is that the AI-generated elements cannot be copyrighted as a sound recording. AI simply provides instrumentation or vocalization for your composition, which does not affect your copyright to the melody and lyrics. However, if AI generated any portion of the melody or lyrics, it is misleading to claim you “demoed” a fully human-written song. In such cases, you must disclose AI’s involvement in the songwriting process).
The philosophical dilemma. Many songwriters use AI to generate demos because the process is cost-effective and efficient. AI allows songwriters to experiment with production, tempo, and arrangement quickly. Some people argue that using AI reduces opportunities for real musicians and vocalists. Others note that technological advancements—such as Digital Audio Workstations (DAWs) like ProTools and Cubase—have also changed the industry. Some songwriters choose to have real musicians recreate their AI demos in the studio for industry credibility.
Can I pitch a song that uses AI at SongU?
Yes, with exceptions. A pitch guest will not accept AI-generated material in certain situations, such as when sync licensing restrictions apply.
However, for any pitch that does accept AI, you must clearly state how AI was used in your submission. This information must be included in the “notes to pitch guest” field and/or on the “lyric sheet” to ensure full transparency regarding AI’s role in your song. Use the following guidelines:
If you used AI for ANY portion of the lyrics or melody, you must specify which parts were AI-generated and which were authored by you.
If you and/or another human wrote all of the lyrics and melody but used AI to create a demo, state that your song was fully human-authored and that AI was used only for demo production.
If you supply lyrics to any AI Platform and allow AI to generate any part of the melody or lyrics, you must disclose it (e.g., ‘I wrote the lyrics, but Suno generated the melody and the demo’). If AI-generated both the melody and lyrics, this must also be clearly stated.
The takeaway: A human-authored song may utilize AI to create the demo, but if any part of the lyric or melody is AI-generated, the song must not be misrepresented as fully human-written in any pitch submission.
Why wouldn’t sync agents, music publishers, or artists want to hear an AI song?
Sync Agents – AI-generated songs create legal uncertainty for licensing in film, TV, and advertisements. Since AI-generated content lacks clear copyright ownership, securing rights for use can be risky.
Music Publishers – Publishers typically require clear ownership of songs to manage rights and collect royalties. If part of a song is AI-generated and lacks copyright protection, it complicates the ability to monetize the work.
Recording Artists – Many artists avoid AI-generated songs due to legal uncertainties, rights management issues, and ethical concerns about AI in creative works.
Full transparency is required when pitching AI-assisted songs at SongU.com so pitch guests can make informed decisions based on legal, financial, and other considerations.
Can I bring my AI-generated (or partially AI) song to a SongU song feedback course and/or submit it to a coach for a song evaluation?
Some instructors in our live Song Feedback Courses (FDBK) may be open to discussing AI-generated songs as part of the educational process. However, they may choose not to provide detailed feedback on AI-generated portions of a song. Some may only offer general comments on the overall feel, while others may decline to evaluate AI-generated material entirely.
Our song evaluation coaches generally focus on human-authored songwriting. While some may provide feedback on AI-assisted songs, they are not required to review AI-generated portions. We have asked all our coaches to add a note in their coaching philosophy area about how they intend to handle AI-generated content.
If you submit a song with AI-generated elements, you must disclose this upfront so the instructor or coach can determine how to proceed.
What if I register an AI-generated song without disclosing AI’s involvement? Who’s going to know?
Falsely claiming AI-generated content as human-created when registering a work with the U.S. Copyright Office can lead to serious legal and professional consequences. Music publishers and licensing agents require clear copyright ownership, and misrepresentation can permanently damage your credibility and future opportunities in the music industry.
In addition, knowingly submitting an AI-generated work as fully human-created is considered a false statement on a federal formand can result in:
Cancellation of your copyright registration – If the Copyright Office discovers AI-generated portions were misrepresented, they can invalidate your registration.
Civil penalties, including fines and potential lawsuits, especially if you attempt to monetize the falsely registered work.
Legal liability under U.S. law – knowingly falsifying a government form violates federal law.
Criminal penalties in extreme cases – If the misrepresentation is part of a broader fraudulent scheme, you could be charged under 18 U.S.C. § 1001, which carries fines of up to $250,000 and a maximum prison sentence of five years.
The takeaway: Misrepresenting AI-generated work as human-authored is not worth the risk.
Will AI-generated songs become more accepted in the future?
Possibly. But as of now (February 2025), music publishers, sync agents, and labels still rely on traditional copyright protections. AI-generated songs remain difficult to license because they lack clear ownership and cannot be copyrighted, making rights management uncertain for commercial use.
The U.S. Copyright Office is preparing a third report, which may address the legal implications of AI training on copyrighted works and how AI-assisted content should be handled. Additionally, ongoing lawsuits against AI companies could set legal precedents that influence copyright policies for AI-generated music.
Some companies, such as Monarrch and Humanable, are developing systems to track AI-generated content and identify copyrighted material used in AI training. If widely adopted, such systems could lead to new licensing models for AI-assisted songwriting that ensure compensation for original copyright holders. Currently, the long-term adoption and use of these solutions remains to be seen.
Where can I find reliable information about copyright and AI?
For the most up-to-date and legally accurate information, we recommend:
U.S. Copyright Office – The primary authority on U.S. copyright law, including AI-related rulings.
Copyright Alliance – A nonprofit organization providing expert copyright law resources and advocacy.
Stanford Copyright & Fair Use Center – A legal research center offering clear explanations of copyright law.
Qualified Music and Copyright Attorneys – Consulting a qualified entertainment attorney is the best course of action if you have specific legal concerns.
For industry perspectives on AI and licensing, you may also check:
ASCAP (American Society of Composers, Authors, and Publishers)
BMI (Broadcast Music, Inc.)
Be cautious of outdated, misleading, or non-authoritative online sources. Some websites promote false claims about AI disclosure rules or suggest ways to bypass legal requirements, which could put you at risk of copyright violations or legal consequences.
As of February 2025, the most recent guidance on AI-generated music and copyright law is found in the U.S. Copyright Office’s report, Copyright and Artificial Intelligence, Part 2: Copyrightability, which provides the current legal stance on AI-generated music and lyrics. We recommend staying informed on new developments since AI copyright laws may continue to evolve.
How should I proceed?
Songwriting has always been about human creativity and originality. The rise of AI does not change that—it remains the songwriter’s role to craft meaningful lyrics and melodies that resonate with listeners. Generative AI is a powerful tool, and like any tool (e.g., rhyming dictionaries), it can assist in the creative process. However, AI should enhance, not replace, human ingenuity. The most successful songwriters develop their craft through experience, emotion, and originality—qualities AI cannot replicate.
AI makes it easy to generate music at the push of a button, but the Copyright Office report clearly states that copyright protection requires human authorship. True artistry comes from human creativity and experience. Those who dedicate time and effort to honing their craft bring value to the music industry and should be rewarded for their originality.
Author’s note: I couldn’t have written this document without the help and assistance of my long-time creative collaborator and co-founder of SongU.com, Danny Arena. In addition to being a professional songwriter, he also happens to be a Professor of Computer Science at Vanderbilt University (where he’s currently helping to design their Generative AI minor).
The rapid rise of artificial intelligence (AI) in music creation has sparked conversations throughout the songwriting community. For SongU.com members, the question isn’t just about the technology itself but how AI-enhanced songs fit into SongU.com’s educational and pitching landscape. The following article is based on the insights and opinions regarding AI from our SongU faculty and mentors, comprised of music publishers, song pluggers, and producers, as well as personal experiences and questions from SongU members.* Let’s delve into the heart of the matter: Can you pitch AI-enhanced songs at SongU.com?
The Short Answer
Here’s a brief summary of how we handle AI-enhanced songs specifically and solely for pitching at SongU.com by our members:
If the listing on our site states the pitch guest is not accepting AI-generated material, you may not pitch an AI-generated song to that listing or brief. However, if the listing does not mention AI, you may pitch your AI-enhanced songs, but you must disclose in the note to the pitch guest the exact way you used AI. Here are some examples: “I wrote the lyrics, but the music and instrumentation are fully generated by AI.” Or, “My co-writer and I wrote the lyrics and melody, but AI created the track for this genre.” Or, “This is my demo, but it’s an AI vocal.”
Note that, in general, the sync agents can not accept AI-generated music or vocals because it adds a layer of complexity in clearing the song for licensing. For artist pitches, the publisher or song plugger guests can go either way. Some are willing to hear what you’ve got. They can contact you if they love the song but need a “real” demo. Or, if you’re using AI for vocals only, sometimes those can work. Other publishers are adamantly opposed to AI for copyright and other business reasons.
Because of legal and copyright ambiguities, the best way to use AI is as a tool to enhance your songwriting. Using it to completely generate the melody and track is trickier (again, for copyright reasons). You should at least check that the AI program you’re using states that the vocals used for the music are not recordings or representative files of actual artists and that the music tracks are not taken directly from pre-existing copyrighted material.
The Comprehensive Answer
Here’s a more detailed exploration of what SongU’s understanding and perspective regarding AI-generated songs.
Full disclosure: I asked AI to summarize 65 pages of my personal email correspondence to the SongU faculty (pitch guests, music publishers, song pluggers, sync agents, and producers) and our members to use as source material regarding this subject, and it did a great job. Our faculty and member input gives us a clear, informative, and actionable list of what you need to know about working with AI. (I double-checked the results to ensure the content is correct and accurate.)
The Topics Covered are:
Industry Resistance to AI-Generated Demos
Sync Licensing Challenges
Ethical and Legal Ambiguities
Diverging Views Among Professionals
Using AI as a Songwriting Tool
Transparency is the Key
Creative Risks With AI
Future Trajectory for AI
Actionable Insights for SongU Members
Industry Resistance to AI-Generated Demos
Many music publishers and sync licensing agents reject AI-generated demos, citing concerns over vocal quality and copyright ambiguities.
Professionals, such as one of our music publisher mentors, emphasize that AI vocals often lack the polish needed for industry pitching. This risks their own reputations when presenting to A&R teams or sync clients.
Sync Licensing Challenges
Sync libraries, including major ones like Crucial Music, do not accept AI-generated tracks due to legal complexities and the inability to guarantee originality.
A major issue for sync pitches is that songs must be “ready to use as is,” making AI involvement a red flag for liability and quality control.
Ethical and Legal Ambiguities
Legal issues center on whether AI models trained on copyrighted material violate intellectual property laws.
Courts are still deciding the legality of AI’s training methods and outputs, creating uncertainty about its widespread adoption.
Organizations like American Performing Rights Organizations such as ASCAP, the British Rights Society, MCPS, and others enforce rules that do not allow 100% AI-generated works and require substantial human input for copyrightability. If a musical work is created with partial AI assistance but includes significant human authorship, it may be eligible for copyright protection and registration.
“If a musical work is created with partial AI assistance but includes significant human authorship, it may be eligible for copyright protection and registration with ASCAP.”
–American Society of Composers, Authors, and Publishers (ASCAP)
Diverging Views Among Industry Professionals
Some music industry professionals accept AI-enhanced demos for educational or creative experimentation, provided the songwriter discloses AI usage.
Others reject AI outright, arguing it undermines the creative process and potentially displaces industry professionals, such as demo singers and musicians.
Using AI as a Songwriting Tool
Songwriters are exploring AI tools like Suno.com and Neutone Morpho to generate tracks, test ideas, or improve worktapes, especially for those with limited production skills or budgets.
AI is seen as a means to reduce costs and generate and iterate songs quickly, but the results can vary widely in quality. Making them competitive requires significant human intervention—sometimes, as many as 100+ attempts.
Transparency is Key
There is consensus that songwriters must disclose their use of AI, especially when pitching to music publishers, song pluggers, or sync agents. Transparency can prevent misunderstandings and maintain trust.
Some members use AI-generated demos as templates, later replacing them with live recordings for pitching.
Creative Risks with AI
While AI can provide emerging songwriters with access to high-quality production tools, it raises concerns about a flood of mediocre, generic music saturating the market.
Authenticity and originality will become increasingly valued as listeners and industry professionals push back against overly polished, AI-driven outputs.
Future Trajectory for AI
Integrating AI into the creative process is a moving target, with industry standards and legal frameworks evolving rapidly.
We advise songwriters to stay informed about technological advancements, legal rulings, and industry attitudes to make strategic decisions.
Actionable Insights for SongU Members
Focus on Disclosure: Clearly indicate how AI is used in the songwriting process when pitching.
Leverage AI Strategically: Use AI as a creative assistant rather than a substitute for human contribution to ensure originality and compliance with copyright laws.
Adapt to Feedback: If publishers or sync agents request higher-quality outputs, be prepared to replace AI demos with traditional recordings.
Invest in Knowledge: Stay updated on industry trends, legal developments, and AI tools to navigate this evolving landscape effectively.
I hope this discussion gives you a better understanding of the opportunities and challenges AI brings to songwriting. It underscores the need to be ethical and intentional as we integrate AI into our songwriting endeavors.
*Thanks to the SongU.com faculty, guest, and members who contributed their thoughts, questions, and expertise to source this article. They are: Danny Arena, Martin Bell, Sherrill Blackman, Benn Cutarelli, Helen Darling, Bob Dellaposta, Diona Devincenzi, Shawn Fitzgerald, Debra Foster, Dallas Gregory, Ronald Jenkins, Kevin Kilberry, Randy Klein, Sara Light, Justin Morgan, Queenie Mullinex, Jeffrey Nelson, Michael Nichols, Lisa Palas, Nancy Peacock, Jon Philibert, Marcia Ramirez, John Schofield, Alan Roy Scott, Michele Vice-Maslin, and Debbie Zavitson
Picture: Karen and Mitch Townley with Sara Light in Nashville
We write songs for a variety of reasons. It could be to share a story or relate an emotion. Sometimes it’s to honor someone, describe a relationship, or bring an issue to light. We could be testifying to God’s work in our life through a worship song or a song designed to encourage someone else. But what does it mean to be “successful” with the songs we write?
Our motivation to express ourselves is primarily our purpose for writing a song. So, we are successful when what we desire to communicate in our song is what the listener feels or experiences when they hear it. In simple terms, the listener “gets it.” This accomplishment is what I like to call “expressive success.” Expressive success is rooted in understanding the fundamental concepts of songwriting. It takes practice and work at the craft to get there and should be enjoyed and celebrated when achieved. Any other success we experience with a song is icing on the cake and essentially out of our control.
Some of us may experience an additional “layer” of success that I refer to as “complimentary success.” Examples of this type of success are when a song is recorded by an artist, placed in a movie or TV show, or performed in a venue. It may win a contest, be used as a theme song for an organization, or perhaps even win an award. These examples are remarkable moments of encouragement for a songwriter but don’t have to be what defines us as “successful” in our writing. For me, complimentary success is undoubtedly a blessing to enjoy, but not the reason why I write. It is not an expectation I have for every song. While we can certainly aspire to write quality songs that contend for complimentary success, I don’t think it is reasonable to expect something that is so far out of our control. There is no shortcut to the destination of this type of success. It takes practice, patience, and perseverance even to consider it.
I would be remiss if I did not mention an even more elusive form of measuring songwriting success: commercial success. Typically, it means a famous or emerging artist has recorded your song, sold many CDs or downloads, done well on major music industry charts, and generated revenue. Most songwriters who enjoy a viable professional income from their songwriting are staff songwriters at music publishing companies. However, the percentage of songwriters who earn a living as a songwriter is extremely low. Does that fact make you want to stop songwriting immediately? I certainly hope not! It is just the nature of the music industry. It’s essential to understand your motivation for writing songs. A person whose aspiration is to be a professional, commercially successful songwriter has restrictions. They can’t always choose what, why, and when they write.
“The percentage of songwriters who earn a living as a songwriter is extremely low. Does that fact make you want to stop songwriting immediately? I certainly hope not!”
I write songs because I “cannot not” write them (pardon the grammar). It is something I love to do. I get so excited when I have written a song that emotionally affects someone in the way I intended. When a listener “gets it,” I am a successful songwriter. I suspect that many of you can become or already are successful too.
Mitch Townley is from Knoxville, TN, where he has served as a Children’s Pastor since 1996. He has over 40 independent artist cuts, including a song featured in a documentary about the Vietnam Memorial and a song placement in the TV show “Nashville.” His song, “This Side Of Sunday” (co-written with Scott Parker), was recorded by Brent Harrison and spent eight weeks in the Number 1 spot on the Christian Country Countdown in April/May of 2018. In April of 2019, it received the 2018 Inspirational Country Song Of the Year award from the Inspirational Country Music Association at a ceremony held at the Grand Ole Opry in Nashville, TN. Mitch is the Knoxville Chapter coordinator for the Nashville Songwriters Association International (NSAI). He performs his songs regularly in songwriter rounds in the greater Knoxville area as a solo artist and with the acoustic duo “The Back Pew Poets.” Mitch has been a member of SongU.com since 2006 and hosts the regular SongU Open-Mic Experiment, virtual writers’ nights.
For our Fall 2021 SongU Special Event Pitch, “Staff Writer for a Day,” the Creative Director of Winsongs Music Publishing, Kirby Smith, listened to over 200 songs. She selected one writer, Jonny Born, to win the coveted “staff writer for a day” prize which featured a co-writing session with Winsongs’ artist/writer Eric Van Houten. This month Jonny flew from his home in Utah to Nashville, TN, for that session. He told me later that he was glad he made the trip to write in person because the visit was full of surprises, and the creative energy in the writer’s room was tangible.
Jonny, how’d your staff writer session go?
It was amazing! In addition to Eric Van Houten from WinSongs, Kirby added a new artist/writer named Nick Boyd to the meeting as well, and I am so glad she did. Watch out for this kid. He is the real deal!
You had another happy surprise too, right?
We wrote in Liz Rose’s office and I was pumped. I can’t even imagine how many monsters have been written in those walls. I took a picture before the meeting. I know it looks like I’m not happy, but that’s my “Jon, get your head in the game and show up and contribute, it’s time to go to work” face!!! HAHA. Honestly, I just wanted to get a picture before anyone saw me taking a selfie and figured out I was a nervous rookie!
Songwriter, Jonny Born, in Liz Rose Music Writer’s Room
You don’t look like a rookie! What happened when Eric and Nick arrived?
After we chatted for a while and just got to know each other a bit, we talked about what we wanted to write.
How’d the writing process go?
I had about 15-20 hooks/ideas I’ve been saving for that day. I pulled out what I thought was the most intriguing one — a concept around the word “Unmade,” with the chorus starting out, “I can’t lie, the way you kissed me, left me drunker than the whiskey.” And ending with: “Now, I can’t lie, in this bed that we unmade.” They dug it, and we dove in. I was SUPER worried about keeping up and adding value in that room, but was happy that by the end of it, I’d contributed about 40+% of the lyric, most of the music/progressions, and the hook. I felt I belonged in the room.
That’s terrific! It’s great that you came prepared with so many ideas, even though they liked the first one you presented.
Those guys made it modern, and fresh, and really really cool. It’s certainly one of the better ones I’ve written, but those boys write every day. They also seemed happy with it.
Did you learn anything new about the writing process from this experience?
The experience did shine a light on some areas where I get to improve and up my writing game. New ways to approach a lyric, and a top line. How to get out of my comfort zone and do things lyrically, and musically, that aren’t expected and are new and fresh. Mixing up the lyric syncopation, etc. I’m going to dig in and really get to work on that. You’ll see an improvement in my writing because of this. It makes me wonder how good I could get if I was here, and had the chance to write with better writers every day.
What was your overall experience with the Staff Writer for a Day Special Event?
I just wanted to express my gratitude again for creating this opportunity for me. I feel really, really blessed to have had the chance to be part of SongU and get better at the craft, and have the chance to meet you, and be able show up and be “in the room.”
Jonny, THANK YOU for chatting about your “Staff Writer for a Day” experience so that we can all learn from it! Here’s the WORKTAPE of “Unmade” (with your vocal).
“Unmade” written by Jonny Born, Eric Van Houten, and Nick Boyd
Congratulations to all of our Top Tier Marketers who pitched their songs the MOST times at SongU.com in 2021, including our SongU “Mover & Shaker” John Cirillo who pitched 634 times and says that SongU.com has been the best investment of his career.
About John Cirillo: Personally, John has impressed me not only with his determination but his modesty. He routinely highlights his cowriters’ participation and talents, heightening their abilities and profiles. But what truly sets John apart is that he makes time to help other songwriters, at every level, reach their own goals by setting up collaborations and connections, sharing leads, and frequently referring writers to SongU.com (thanks, John). His spirit of mentorship and community is what SongU is all about and what truly earns him his SongU Mover & Shaker title. Below, John tells us about his SongU experience in his own words.
Songwriter, John Cirillo (TN) and his writing buddy, Mickey.
John says: About a year or so ago I was fortunate enough to win a one year membership with SongU (I have since renewed!). I was curious as to the value and the potential of the tools that SongU had to offer and was anxious to get my account up and running. I have worked with several different publishers and organizations in pitching my songs into this ever-changing market. With SongU I found an organization that posted what current successful independent songwriters were looking for; both with artists and with Synch opportunities; which basically covers my catalog.
I was also looking to find a site that was simple to use for any kind of changes or opportunities. SongU’s web site and applications definitely made my efforts easier to get my songs into the right hands. Because of the industry pros that SongU has developed relationships with, I have been able to pitch to opportunities almost every week. Also, the cost of doing so is much more affordable than many other organizations. This has allowed me to submit songs to a solid list of artists and synch opportunities. I have known a few of the industry pros prior to my subscription to SongU. But because of the opportunities to work with each other through SongU, I feel I have strengthened my relationships with a few Pros and started building new relationships with others.
Because the info that SongU provides from the Industry Pros, along with the deadlines and any other important information, I feel that I am able to present my best material for each particular opportunity. Sometimes I don’t have anything, sometimes I have several. But with SongU I feel much more confident that the songs I do pitch fit the opportunity.
Over the past year I have been able to sign several non-exclusive single song contracts with different Industry Pros. Because I am an independent songwriter, it is almost impossible for me to reach the level of artists that I would like to reach without paying a pretty hefty price for a quality sungplugger. But SongU has basically put me in touch with Industry Pros that can help me reach these artists. That is a valuable asset that not all songwriting organizations can provide.
Overall, between the ease of use, their connections to the right Industry Pros and the cost of using SongU, I feel that it certainly has been my best investment in my career as a songwriter.
Congratulations to all of our SongU Top Tier Learners for participating in the most instructor-led and private mentoring sessions this year! This is a huge accomplishment at SongU where our philosophy is that education leads to success. Our members, like our Valedictorian Karen Mitchell, have proven there is a direct correlation between furthering their knowledge of the craft and business of songwriting and meeting their personal songwriting goals.
About Karen Mitchell: I have had the pleasure of getting to know Karen since she joined SongU in 2019 and has participated in over 115 live courses this year. She has always impressed me with her humor, humility, and hard work. That combination has made all the difference. Below, she tells us about her SongU experience and successes. She even mixes in several of her song titles to prove she has learned to write her truth!
Songwriter, Karen Mitchell (CA, SU class of ’19)
Karen says: I am honored to be at the “head of the class” for “Top Learners” in 2021. My SongU journey started in July 2019 at the suggestion of another member, co-writer and special friend. She thought I’d benefit from a membership and she was so write (pun intended)! Since that time I’ve had the awesome privilege of having songs I’ve written or co-written signed to numerous exclusive and non exclusive agreements! The SongU format of having a professional mentor(s) and five members in the live feedback classes is so valuable! It’s great to work with exceptional people who willingly share their thoughts and encouragement! I’ve also benefited from DIY classes, private sessions and written critiques. All services offered are extremely valuable and add to the in-depth learning experience! SongU has been instrumental in helping me see personal growth and I plan to continue with that process! Some critiques can be tough and when I can’t “Escape the Sad” I’ve learned to pour those emotions into a new song. In fact, I’m “Stronger Than I Think” and “Stronger Than I’ve Ever Been.” This year I started co-writing with an amazing and talented musician! We met in a SongU class. Writing with him has made me a “Better” writer! SongU has changed my life and I’m confident there’ll be many more incredible songs in the near future! In fact (for one mentor in particular) I’m just “Waiting” to see what new doors open in 2022!
Winner of our February/March 2021 SongU Special Event Pitch “Staff Writer for a Day with Curb/Word Entertainment,” Matt Soileau (pronounced in Louisiana French as “swallow”) answered our questions about his writing process. He also filled us in on the co-write session set up by Senior Creative Director of Publishing Ciara Shortridge with hit songwriter Bobby Tomberlin (“One More Day”).
Matt’s interest in songwriting started in 2016 in Texas from a random conversation about songwriting with one of his physical therapy patients. He was hooked when he learned that he could write the words to a song without the music. Until then, he didn’t even know there was such a thing as a “lyricist.” He admits that his first attempts were “horrible.” He and a co-worker would banter back and forth. He would create titles and lyrics to songs from the conversations, but they were always joke-type songs. They would watch a Country Music channel sometimes at work and would hear songs like T-Shirt and Trailer Hitch and say, “man, that’s pretty easy, simple, everyday stuff right there. We can make up lyrics and titles like that.” He learned later that it was a little more complicated than that.
Songwriter, Matt Soileau and Family in Big Bend National Park, TX
Like many new songwriters, Matt says the ideas for songs, titles, and twists on clichés were not the problem, but writing a complete song in a song-form to a melody was. Motivated to enter his lyrics into song contests, he teamed up to co-write with musicians and vocalists and started submitting his first “bad” songs. The contests led him to educational sites for songwriters, including SongU, and he began studying everything he could find about songwriting.
He wrote in secret for a year in fear that he “may not be good enough” and that those around him would laugh and think this was crazy. Eventually, he started to get some honorable mentions in songwriting contests, then semi-finalist, then finalist placements. He says that only then did he feel comfortable telling his wife and friends that he had entered into this new mid-life experiment. He says, “I didn’t understand why it was happening at that time but I just knew I felt so fulfilled when I was writing that this must be my purpose in life.”
Matt and son catch a fishy!
How often do you write? Do you have any set schedule or unique ways to enhance your creative process?
I “work” on songwriting every morning, but I do not write songs every morning. I have a family with three kids and a wife, and a day job. For that reason, my writing time is anywhere from 4 AM to 9 AM before my family wakes up. That sounds bad, but I am an early riser that needs little sleep to operate. I like a quiet setting and some strong coffee to aid the process. I get to go longer on weekends if the kids don’t have early activities. I have dry spells like every other writer. When I’m not feeling inspired, I do clerical work related to my songs, like organizing e-mails, reading educational things, and looking for new networking opportunities. If the lyrics aren’t there, I sometimes find new ideas for titles or songs in general. Some mornings I listen to other artists, and that spurs ideas.
“We watched a Country music channel sometimes at work and say, man, that’s pretty easy, simple, everyday stuff right there. We can make up lyrics and titles like that. I learned later that it was a little more difficult than that.”
-Matt Soileau
Tell us about the pitching for this Special Event with Ciara Shortridge, Curb/Word Publishing Creative Director. Four of your songs ended up on the contenders’ list! How did you decide which of your song to submit to the Special Event Pitch?
This was difficult for me. I have demos of a lot of songs already completed because it seems like my creativity is a steamroller at times and won’t stop. I enjoy that completion process so much. It is hard for me to choose my best song because you think all of them are good when you create them. But then, if you get into an evaluation or pitching process with professionals, you start to realize their flaws. But I was simply submitting a few Country songs and few Contemporary Christian songs. I have had several bursts of inspiration in Contemporary Christian, which I think are some of my best songs. I’m glad that Ciara agreed when she judged the contest.
That seems like an excellent strategy to show your range as a writer. What were your first thoughts when you found out that you were the winner?
It was such an honor and validation to have a professional from a major label saying good things about my songs and picking me as the winner. Ciara’s comments were so nice and just gave me a good feeling about what I had done with my songs and how they could affect people in a positive way. She said that my song, So Help Me God, “resonates with me,” and she “loved it,” and “the double meaning of the hook knocked me out.” I played this song for a family member, and they cried because of its emotional impact. Even if this song never gets on the radio, it has still changed the world in some way and touched people already. That’s a great feeling and one of the goals of my writing.
I was also immediately anticipating the gift of a pro co-write with Bobby as well, and it was a really neat experience. This win [in addition to the Nashville Songwriter’s Contest win] has led to a couple of in-person co-writes when I make a trip to Nashville in November.
Here’s the song that rose the to top of the Special Event Pitch contenders list for Emily:
So Help Me God (Soileau/Chase)
I noticed that you submitted very well-done guitar/vocals rather than full-band productions. Ciara seemed to be drawn to them, which says a lot about the quality of the writing. You invited one of your co-writers to the session as well (with permission from Ciara and Bobby). Why was that?
I write with Brandon Chase, who does the vocals for most of my songs. He is now singing with the Christian group I Am They and was a former Voice contestant. His vocals are amazing! He is also very strong with melody, and that’s how we usually divide up the labor in our writes even though he has lyric skills as well. I just knew having him present would enhance the writing. I also wanted to invite him to show my gratitude since he was a co-writer on most of my contest songs, and I couldn’t have won without him.
How did you prepare yourself ahead of time for the co-write session with hit writer Bobby Tomberlin? Did you come with ideas or just let the ideas flow after you got in the “writer’s room” (aka online meeting)?
Because I consider myself the “idea and lyric guy,” I prepped by going through a lot of my song ideas stored on my phone and in my e-mail. I’m constantly jotting down new titles, ideas, and lines. So I suggested a few different songs, and we then decided on “Happy Accidents” as the best choice for our write. I can’t contribute to melody much because of my skill set, so I wanted to try to really contribute on the front end of the song. We completed it in two writing sessions about a month apart. I prepared for our second writing session by doing a lot of lyric writing on my own for the second verse and bridge. I can write and contribute in the moment during a writing session, but, because of the way I usually write, I like to slowly ruminate on lyrics in the early morning hours.
Ciara Shortridge
Bobby Tomberlin
Can you walk us through the writing process a bit?
It was a Zoom session since I live in Texas. We did introduce ourselves and just said a few things about ourselves to get started. There was a little talking and joking, but we started getting into the write quickly. I shot out a few ideas, and Bobby picked the one he liked the best. Brandon agreed and very quickly started playing some melody options on his guitar. We did two sessions to complete the song. The first was about 40 minutes after dealing with some tech issues and the second one was about an hour to finish up.
Are you, Brandon, and Bobby happy with the song you wrote? Is anything happening with it in terms of pitching?
The writing team was happy with the song when we finished it. We thought it was a unique presentation of the common but never old theme of love. We felt like the chorus was pretty “catchy” and could get listeners singing along. We didn’t get a lot of feedback yet from the Creative Director. We have not decided to do a full demo on this song yet, only a phone recording so far. I’ve learned that to pitch a song effectively, you can’t just throw it out there to everyone. It took me a while to learn that. But pitches should be strategic and targeted to specific artists that are looking for specific types of songs. So far, we haven’t found a match for our song in that way, so it is not being pitched. But if I see the right opportunity, I will definitely put it out there.
Thanks for sharing the worktape that came out of the session…
Happy Accident (Soileau/Chase/Tomberlin)
Your overall experience with the Staff Writer for a Day Special Event?
It was a great experience and opportunity. It was great to meet Bobby and write with him when you look at his songwriting accomplishments and cuts. I am very grateful and will always give SongU credit for my first co-write with a major-label pro writer. It’s just a great way to get a more quality writing experience in my back pocket to move the songwriting journey forward. It’s another step along the way to network and also hopefully get closer to my goal of getting some cuts in Nashville and commuting there regularly to write at some point..
Matt, thanks so much! We appreciate your sharing your experience so we can all learn from it.
Our summer Gold Stars Report is here! For those of you who are not familiar with SongU.com, here’s how it works. Our members achieve success using a holistic approach focusing on education and numerous opportunities to reach their goals. These include online Song Feedback sessions, written Coaching evaluations, Private consultations/collaborations with our Music Publisher and Hit Songwriter Mentors, a Member-Website with a Cowriter search feature, and more. Our personalized approach gives every writer an opportunity to make each song as competitive as possible before spending money on a demo. Once their song is ready, we offer monthly Pitch opportunities with a GUARANTEED response from our Street pitch guests. And here are the results!
CONGRATULATIONS to the following members for having their songs signed or pitched for the following leads during the time period MAY 27th through AUGUST 12th 2021.
Pitch For Licensing Agent. .Top 40 Female Pop, Soul, Chillout-House, World Music AMURCO MUSIC LICENSING. Re-Opened for submissions! This is an UK-based licensing company with a catalogue of 70,000+ tracks, offering playlisting and syncing opportunities. They are currently interested in receiving submissions for the following types of music: Current Top 40 Pop (Female), Soul, Chillout/Chill House, and World. Here is a note to us from Joel at Amurco: “Our our deals …
• Rachel Amidei “HOLDING OUT HOPE” (Date picked up: 7/9/2021) • Rachel Amidei “DIGGING” (Date picked up: 7/9/2021) • Robbi Atkins “GET IT DONE” (Date picked up: 7/9/2021) • Robbi Atkins “FABULOUS**” (Date picked up: 7/9/2021) • Robbi Atkins “DEAR BOY” (Date picked up: 8/9/2021) • David Chong “IT DOESN’T GET BETTER THAN THIS” (Date picked up: 7/9/2021) • Priscilla Connolly “CHRISTMAS WITH YOU “ (Date picked up: 7/9/2021) • Sally Edwards “I NEVER LIED” (Date picked up: 8/9/2021) • Sally Edwards “FASHIONISTA” (Date picked up: 8/9/2021) • Sally Edwards “CHANGING MY ECOLOGY” (Date picked up: 8/9/2021) • Shawn Fitzgerald “BLACK SATIN SHEETS” (Date picked up: 6/16/2021) • Beerand Flies “BITTER LOVE” (Date picked up: 7/9/2021) • Beerand Flies “SNOW ANGELS “ (Date picked up: 6/16/2021) • Beerand Flies “RIVERS FLOW” (Date picked up: 6/16/2021) • Beerand Flies “BIRDS” (Date picked up: 8/9/2021) • Beerand Flies “HIRAETH” (Date picked up: 8/9/2021) • Beerand Flies “LOVE RAT” (Date picked up: 8/9/2021) • Beerand Flies “I’M AWESOME!” (Date picked up: 8/9/2021) • Janet Herring “AND THEN I TURNED AROUND” (Date picked up: 7/9/2021) • Janet Herring “SHE’S A JEWEL” (Date picked up: 7/9/2021) • Janet Herring “I’VE BEEN TRYING TO REACH YOU” (Date picked up: 7/9/2021) • Kevin Kenney “BABY STEPS” (Date picked up: 8/9/2021) • James Laev “TALKING TO AN OLIVE” (Date picked up: 6/23/2021) • Bob Love “DIAMOND SOUL” (Date picked up: 6/23/2021) • Pete Papageorge “FUNDAMENTALLY BLUE” (Date picked up: 7/9/2021) • Stephen Peters “ANGRY AS HELL” (Date picked up: 8/9/2021) • Tina Rivera “IT’S ALL ABOUT ME” (Date picked up: 6/16/2021) • John Schutt “MORE LIKE THAT” (Date picked up: 7/9/2021) • Shaun Thomson “SEKAI HEIWA (WORLD PEACE)” (Date picked up: 8/9/2021) • David Will “DON’T DISMISS ME” (Date picked up: 6/23/2021)
Pitch For Publisher. Christian, Gospel. JASON CRABB. Extended! Still fully active. UPDATE: 7/1/21: “I spoke with Jason’s manager Philip the other day and he said what I’ve sent them is great, and they still continue to listen to songs, but nothing as definitive as a ‘hold’ has materialized. They’re asking me to send more songs, so I’m hoping something will ultimately stick.” Street Pitch guest, D.G., veteran music publisher, who has already generated income for SongU members is looking …
• Rick Burge “HE SHOWED LOVE” (Date picked up: 7/27/2021) • Krystal Kuehn “THE LORDS PRAYER (THIS IS HOW WE PRAY) – KK” (Date picked up: 7/27/2021) • Abigail Marmion “PRAY YOU HOME” (Date picked up: 7/27/2021) • Abigail Marmion “TRUST YOUR OUTCOMES TO GOD “ (Date picked up: 6/22/2021) • James Oliver “LET GO LET GOD*” (Date picked up: 7/22/2021) • Ava Paige “WE CALL THE PRODIGALS HOME” (Date picked up: 7/22/2021) • Mitch Townley “NUMBERED (SDB)” (Date picked up: 7/22/2021) • Tery Wayne “SOMETIMES” (Date picked up: 7/27/2021)
Pitch For Song Plugger. Country. JULIA COLE. Extended! “Send me your A-list songs.” Street Pitch guest, J.N., veteran independent songplugger who has generated income for SongU members is looking for songs for independent artist Julia Cole. Julia has had over 20,000,000 streams and has been featured on CMT, Audience Network, The CW, Radio Disney and others. Seeking songs in the Florida-Georgia Line musical style (and perhaps lyrical direction of subjects they’ve covered), but that …
• Noel Cohen “WHO IS THIS GIRL?” (Date picked up: 6/9/2021)
Pitch For Licensing Agent. Adult Contemporary, Singer Songwriter, Indie. ROMANTIC BACKGROUND MUSIC For CBS TV Sitcom. Extended! Pitch guest, N.P., is seeking two types of VOCAL songs for season 2 of this charming show: 1. Soft Pop style songs that have a romantic feel. Think warm and honest (not cheesy) current adult contemporary/soft pop that could be playing in a restaurant. Nothing too electronic, rocking or distracting as it is laying under dialogue. 2. Acoustic Indie Singer-Songwriter songs that have …
• John Cirillo “STARS DON’T LIE” (Date picked up: 6/3/2021)
Pitch For Publisher. Country. TENILLE ARTS. Deadline approaching. They’re in the studio reviewing what they have. Will still be listening briefly for the undeniable hit that might beat what they already have. Street Pitch guest, D.G., veteran music publisher, who has already generated income for SongU members, is looking for songs for Reviver Records artist Tenille Arts. Looking for radio friendly songs, specifically up tempo, or the right mid-tempo that fits the project. Need …
Pitch For Publisher. Country. JOE NICHOLS. Street Pitch guest and publisher, Bob D., who has already generated income for SongU.com members is looking for songs for the first album in three years from Quartz Hill Records and multi-platinum selling artist Joe Nichols. Looking for radio-friendly Country HITS. All tempos. His newest release this month is “Home Run” at https://www.youtube.com/watch?v=adUpbiLy-Qs . For the latest news on Nichols visit: http://www.JoeNichols.com and follow …
Pitch For Publisher. Country. Troy Cartwright. Street Pitch guest and publisher, Bob D., who has already generated income for SongU.com members is looking for songs for Warner Music Nashville artist Troy Cartwright. Looking for Country RADIO songs and VULNERABLE songs. Research artist before pitching https://www.troycartwright.com/about . This pitch will stay open on an ongoing basis until artist is no longer seeking outside songs. Pitch follow-up info: If this guest expresses …
• Avrim Topel “LOVE YOU LIKE THAT” (Date picked up: 7/14/2021)
Pitch For Licensing Agent. Film/TV/Media. LULLABIES FOR PSYCHO KILLER TV SERIES. Street pitch guest, N.P., needs original lullabies and public domain covers that will sound ironic/paradoxical to scary, tense, stalker scenes that lead to murder. Think sweet childlike lyrics with simple/sparse production that lull the listener into a false sense of security. Songs with slightly sinister/dark undertones or instrumentation can work as well. Ballads and midtempos. Male or female vocals. GENRES: …
• Beerand Flies “LULLABY FOR A KILLER “ (Date picked up: 6/10/2021)
Pitch For Publisher. Country. EDDIE MONTGOMERY. Back on the board. Still looking! Street Pitch guest and publisher, Bob D., who has already generated income for SongU.com members is looking for songs for Average Joe Entertainment Group artist Eddie Montgomery. Looking for rowdy, rough, up-tempo Country radio hits Ala Montgomery/Gentry. Pitch follow-up info: If this guest expresses interest in your song, before pitching it, they will ask for publishing if a major recording results …
• Jonny Born “RAIN AND RUST” (Date picked up: 7/25/2021) • Ronald Brown “YOU’LL BELIEVE IN THE RIDE” (Date picked up: 7/25/2021) • D Toomey “DRINK IT IN” (Date picked up: 7/16/2021) • Thomas White “SHOOT MY TRUCK” (Date picked up: 7/25/2021)
Pitch For Publisher. Country, Pop. MACY MARTIN. Street Pitch guest and publisher, Bob D., who has already generated income for SongU.com members is looking for songs for label-shopping artist Macy Martin. Looking for YOUTHFUL POP CROSSOVER songs. Think Disney. Speaking to girls and her generation. For artist sound watch this video: https://www.youtube.com/watch?v=imhdgiAv_Bw . Pitch follow-up info: If this guest expresses interest in your song, before pitching it, they will ask for …
• Adam Avery “DOING THAT” (Date picked up: 7/25/2021) • John Cirillo “GOOD MORNING MIDNIGHT” (Date picked up: 7/25/2021) • John Cirillo “LOST AMEN- FEMALE” (Date picked up: 7/25/2021)
• Robbi Atkins “LITTLE SIMPLE CHRISTMAS THINGS (V4)” (Date picked up: 7/7/2021) • Steve Bryant “A MAGIC CHRISTMAS EVE” (Date picked up: 7/7/2021) • John Cirillo “THE SOUND OF CHRISTMAS” (Date picked up: 7/7/2021) • John Cirillo “TINSELTOWN” (Date picked up: 7/29/2021) • Bill Gue “HALLELUJAH (GLORY TO GOD)” (Date picked up: 7/29/2021) • Bill Gue “THE GREATEST GIFT” (Date picked up: 7/29/2021) • Sarah Motes ashley “I HEARD THE BELLS / BE STILL” (Date picked up: 7/7/2021) • Daniel Obrien “NOEL D’AMOUR” (Date picked up: 7/29/2021) • Bill Ohanlon “ONE CHILD” (Date picked up: 7/7/2021) • Jeff Roe “LIGHTS” (Date picked up: 7/29/2021) • Melanie Smith “MARY, JOSEPH AND JESUS” (Date picked up: 6/29/2021) • Perry Walp “HEAVEN’S LIGHT “ (Date picked up: 6/29/2021)
Pitch For Licensing Agent. Pop, Rock, Indie. PROMOS FOR DISNEY+ SHOWS. Street Pitch guest, N.P. is Looking for two types of songs for these (see below references). The theme is: You can come to Disney+ for your favorites, but also new original content. The vibe/tone is: awestruck/wonder. Songs are aimed at ADULTS – sophisticated, and modern. Excellent productions. Male or female vocals. Specifics: 1. Fun, Wondrous, Adventurous. Think Misterwives – “The End”, Florence + The Machine – …
Pitch For Publisher. Traditional Country. DAN SMALLEY. Street Pitch guest and publisher, Bob D., who has already generated income for SongU.com members is looking for songs for Big Machine Label Group artist Dan Smalley who is being produced by veteran Keith Stegall (Alan Jackson, Zac Brown Band). Looking for traditional Country HITS ala Chris Stapleton. Pitch follow-up info: If this guest expresses interest in your song, before pitching it, they will ask for publishing if a major recording …
• John Cirillo “LOST AMEN” (Date picked up: 7/9/2021) • Patrick Mcwilliams “LET IT BURN” (Date picked up: 7/9/2021) • D Toomey “HOLDIN’ OUT FOR HEAVEN” (Date picked up: 7/9/2021)
Pitch For Music Supervisor. Pop, Rock. BACKGROUND & SOURCE MUSIC FOR CABLE NETWORK SERIES. Pitch guest, N.P., is seeking two types of We need 2 types of songs here: 1. Pop in the style of Ava Max, Camila Cabella, Zayn, Harry Styles, etc. 2. Pop/Rock songs – Think upbeat and fun everything from produced pop to songs with organic instrumentation. Lyrics are not important, as long as the tone is upbeat and modern. A la Olivia Rodrigo, American Authors, “Fitz & The Tantrums “Head …
A special shout-out to those you whose songs are on the report for the very first time! And a round of applause to those whose songs were marked ‘Maybe’ too. Keep up the great work, everyone!
