Atlanta based singer/songwriter/producer Amore Jones has made his niche in the world of Cheerleading Competition music. We talk about his journey to becoming a singer/songwriter, why he attended audio engineering school, and what lead to this singers current career creating cheer music.
If you’re interested in what might just be the next wave for working singers and songwriters, this episode is a must listen.
Laura Jane opens up about how her gig with Enrique Iglesias almost didn’t happen, the balance between being a singer for hire and being an artist, and what she learned working with the late great Teena Marie. She also discusses mentoring young artists and her upcoming workshops.
Gerald White is one of the most successful and in demand studio singers and vocal coaches in Los Angeles. You’ve heard his voice on Glee, Toy Story 3, The Simpsons and Avatar, just to name a few. He chats about how advice he almost didn’t follow lead to his thriving career as a session singer, his popular sight singing workshop at the SAG-AFTRA building, and his philosophy on the value of being a teacher.
Say yes to every opportunity that comes along even though it may not be the exact thing that you want to do.
The demo is worthwhile only after you’ve met the person that you need to meet. The best demo is really short and it has to be what you do the very best. Don’t stray far from from the style that you do.
Assume that the person listening to your demo is going to get through 20 or 30 seconds. They make up their mind really fast.
You have to get out and sing in every group that you can possibly sing in. You have to be seen. You have to be known. You have to be out there doing your craft.
It’s rare that someone just hires someone out of the blue. They will vet you. Are you out there hiking your craft, are you dependable, do you show up on time, are you fun to hang out with.
Vocal contractors want to know who the new talent is.
The voice is an extension of everything that’s going on in your life.
Don’t burn bridges.
You have to be wise about what you say, and how you treat people.
How do you go from working a day job as a legal assistant to spending almost two decades playing Janis Joplin on broadway? Kacee Clanton answers this question and more, revealing how she ended up on a Broadway stage, what she learned working with Joe Cocker, how she’s overcome stage fright, and techniques she uses to help her singing students to dig deeper in their own work.
Melanie Taylor is a seasoned performer who in her extensive career has worked with the likes of Aerosmith, Barry Manilow, Bette Midler, The Righteous Brothers, Connie Stevens, Donna Summer, John Mayer, Joe Walsh and many more. Melanie shares what she’s learned along the way, how she helps young artists develop their creative process, and insights on what it takes to be a serious performer.
Have you ever met a singer with an incredible career and
wondered how they did it? The road to a singing career can be full of twists
and turns, and every journey is vastly different. Meet Windy Wagner, who early
on even with a full time day job, always sang.
She had a band, wrote songs and even had a record deal, but like many
singers, reached the point where she had to take the leap and make singing her
full time career.
Just 18 months after leaving her full time job, Windy was
working with the likes of Barbara Streisand and David Foster just to name a few. Windy has gone on to tour as a background
singer for K.D. Lang and Joe Walsh of the Eagles. She is one of the most in
demand session singers, vocal contractors, vocal arrangers and songwriters in
Los Angeles with her work appearing in tv shows (Glee, Pretty Little Liars),
commercials (Barbie, Lexus, Macy’s), and films (Legally Blonde, Pitch Perfect). She shares how she built her successful
singing career, discusses her ‘Art of Pop Vocal Production’ workshop, and her
advice on creating thriving singing career.
Keep your reel updated and send it to your clients, colleagues, and friends to keep yourself top of mind. Do this when you have a new video or song as well.
Be observant when you step into a new professional situation. Take the temperature of the room, figure out who’s in charge, and gauge the vibe. Every job, live gig, session, room has a temperature you have to take.
Do what you can to set yourself up so that you have as few financial obligations as possible while you’re pursuing your singing career.
Take the steps toward what you want and follow through. There is a big difference between being a great singer and having a career. The through line amongst the career singers is that they follow up and follow through.
Take a workshop to sharpen you skills and gain new ones. It’s also a great way to build your singer community and get in the room with someone who might someday hire you!
We have to be willing to be vulnerable to hearing the not so great things in addition to the great things.
You have to be flexible. Be able to receive criticism and fix things (pitch, tone, enunciation, etc.) on the spot.
What’s great for working for yourself is that you can choose who you work for.
Always keep in mind that you’re providing a service.
Have a small network of singers you can rely on to step in for you if need be. You want them to be reliable, take care of their voices, show up on time, and have a flexible attitude.
Don’t give up. If you give up, you will never know what might have happened!
Erica Canales, singer, songwriter and vocal coach shares how she went from having singer burnout to touring with The Killers and working on projects for Gwen Stefani and Grace Potter. She also gives her insights on touring as a background singer, what makes a gig worth taking, and the healthy mindset of a “support” singer.
If you’re considering being a background singer, have an honest conversation with yourself about whether or not being a support musician is truly for you.
Whether you are on or off the road, find a daily ritual to keep yourself centered.
Nothing is more restorative for your voice than sleep. Get rest when you need it.
Determine what it means for you to make your own mark in the world. It’s going to come up a lot, but you’re going to have to define for YOU what success in your career means.
Everything happens in the time it takes to happen. Do the work, get good at what you do, and develop your craft.
Limit the comparisons (to other musician’s careers). We all have our own journey.
It’s the vibe, the money or the hang. You want a gig to have at least two of those three virtues. 😉
When you’re on the road the two hours you spend performing on stage is not the work. The real work is the other twenty-two hours you spend with the other people you’re on the road with. That’s the work.