Victoria Banks has been nominated for 11 Canadian Country Music Association (CCMA) Awards and was named CCMA Female Artist of the Year and Songwriter of the Year in 2010. She has been labeled “one of the best songwriters in the business” by Nashville’s MusicRow magazine.
In addition to releasing three albums and touring with artists from Reba to Wynonna, Banks – who hails from Muskoka, Ontario – has written ASCAP, SOCAN, CCMA and Covenant-award-winning songs for more than 50 artists.
Her cuts include Jessica Simpson’s Billboard record- breaking single “Come On Over,” Sara Evans’ solo-written hit “Saints & Angels” and duet “Can’t Stop Loving You” (featuring Isaac Slade of The Fray), Lauren Alaina’s “Queen of Hearts,” Johnny Reid’s CCMA Song of the Year “Dance With Me”, Doc Walker’s chart-topping “I’m Gonna Make You Love Me”, One More Girl’s BCCMA Song of the Year “When it Ain’t Raining”, and many more. In 2016, Banks performed with the Nashville Ballet as part of their Attitude program, for which several of her songs were choreographed including the program’s title song, “City of Dreams.”
“This is an artist you absolutely need to pay attention to. Recommended without reservation.” – Robert Oermann, MusicRow
“A powerful singer…a very impressive songwriter…definitely a name to look out for.” – Maverick Magazine (UK)
- How did you get your start as a creator in the industry?
I’ve been a staff songwriter based in Nashville for over twenty years now. I moved south in 1997 after finishing a degree in Zoology at University of Toronto, and after performing at a ton of writers nights around town, was connected with my ASCAP rep, Ralph Murphy. Ralph set me up with some publisher meetings, and from those I was offered my first deal writing for Rick Hall at Fame Music’s Nashville office (affiliated with Fame Studios in Muscle Shoals). Since then I’ve signed with several other companies and have always maintained a writing deal over the years, even when I was touring heavily to support my Canadian record deals.
- How did you learn your craft – was it a “formal” or “informal” music education?
I studied classical voice and piano until I graduated high school, but pursued science in university. As a teenager I picked up a guitar and taught myself how to play and write contemporary music, but I never had any formal training in songwriting. I just read books on the subject, listened to a zillion songs, and tried to figure out how the writers crafted them to affect the listener the way they do.
- Have you faced any major economic, social or political hurdles as a music creator?
I feel a bit like a survivor who is holding on somehow despite the odds. When I signed my first deal in 1998, royalty streams were alive and well. I have seen the decline of record sales and the rise of streaming basically obliterate all other income streams except radio play for commercial songwriters. There are now only 400 people doing what I do professionally in Nashville when there were 4000 twenty years ago. I’ve also had to deal with the lack of radio play for female artists in the country genre. Even though I naturally gravitate toward writing from a female perspective, I have had to learn to focus primarily on writing with and for male artists in order to stay marketable.
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