Pro Member Interview – TiKA

TiKA.png

TiKA is an artist, actor, DJ, creator, cultural producer, TV/Online personality, activist, and advocate for the empowerment of female artists and creators. TiKA makes an impression on everyone she encounters and her joy is infectious.

Now TiKA’s love and passion for culture and music has led to the release of 2 EP’s, “Some Things Are Better Left Unsaid” + “Carry On.” With features in Complex, Elle, Ebony, Revolt, Noisey, MILK, Afropunk, Saint Heron, The Fader, CBC, The Source, among others, TiKA is receiving critical acclaim for her voice, her energy, her love. Her music. She has opened for major R&B heavyweights like John Legend + NAO and is being coined as an incredible performance artist + visual hypnotist. Complex Magazine listed TiKA as “One of the most prolific creatives in Toronto.”

In late 2015, TiKA spoke openly about her struggles with trauma & depression and created a body of work to encourage others going through the same. The “Carry On” EP was released in late 2016. “Carry On” serves as a spiritual soundscape for anyone going through a healing process. The unexpected offering garnered TiKA an amass of critical accolades from all over the world. The first single “OHMYGOD” is an 80’s inspired gospel record featuring international producer, Harrison and rapper/ producer Clairmont The Second. The record garnered high numbers on Spotify and iTunes and continues to feed many spiritually.

TiKA’s debut full album + short film will be released in Fall of 2018. Aptly titled “Anywhere But Here,” it serves as a brilliant indication of her unique voice, as well as her distinctive resonance and personality as a developed artist. Completely produced by Redbulll Montreal graduate + 24 year old multi- instrumentalist & musical phenomenon Casey MQ, the album is an 80’s inspired synth pop sound. “No matter what I am going through, I always want to convey love + light in my music. My lyrics are dark because my reality has been dark. My sound stays in the light. I want people to know that the light is always attainable.”

The vulnerable 8-track album is more of a score, with Casey MQ providing a rollercoaster ride of sounds cleverly mixed with TiKA’s raspy emotional vocals.

While her vocation as an ambassador and creator of music has been well established, her image and sound as a new artist is being unleashed to make a very durable impression in order to gracefully provide what this generation has been missing musically.

  • What inspires you to create music?

Life experiences, shifts in my consciousness, the idea that I can create something more beautiful than the last song I created. I love to be challenged, so music in general is inspiring and having a great team of musicians that understand me is so important.

  • Do you have a process to your songwriting or when creating music?

When I initially started doing music, I would try to fit it in after work or attempted to fit it in whenever I had time. I found that that intention didn’t work because I was receiving the same amount of attention that I was putting in. I believe whatever you put into the universe is what you receive. I received producers and engineers who rushed through the process with me. And that wasn’t a good feeling at all. I felt rushed and misunderstood and felt like I was simply a money grab. I ended up doubting my abilities as a musician and sitting in that doubt for awhile. Eventually, I realized that in order for me to do music, I would have to commit to the intention of making it. I quit my job and immersed myself in music. It was so healing and therapeutic. Because I committed and set an intention, I believe that is what helped me to craft my voice and sound. As far as my process to songwriting, I meditate and free flow as much as possible. I treat music like therapy so I try not to rush and I take my time. Being as comfortable as possible is important. Working with someone who is as vulnerable and transparent as you and cares about YOU as a person is equally as important because you can’t make music (which is vulnerable) unless you’re comfortable. Art is also not ego so it’s imperative to work with someone who has an open mind and open heart to the process. Patience is an absolute MUST.

  • Do you have any advice for upcoming songwriters and creators who are looking to break further into the creative scene?

Commit to the process of music. It might be hard to but try to really learn as much about yourself as possible. You are equally as important as the music itself. Meditate. It’s a great way to encourage the sound to come forward without having to think about it. I also firmly believe that art is not ego. So learn how to remove all negative thoughts from your mind to develop a positive outlook on your singing and songwriting capabilities. In your darkest moments, don’t be afraid to create during that time. It’s when you’re most vulnerable. You’ll be surprised at what light comes from darkness.

#ThePROSofSAC #CreatorsCount #MusicCreatorsUnite

Songwriters Association of Canada posts songwriter related news and events as a resource to members. Publishing these posts does not imply that the S.A.C. endorses the teacher, product, service, or company.

Advertisements

Pro Member Interview – Susan Passmore

Sue Passmore is a co-founder and member of the Canadian band, Good Lovelies. In her 12-year professional career as a songwriter and performer with the Good Lovelies, she has won a Juno and four Canadian Folk Music Awards. The Good Lovelies have toured all over the world: in the US, Canada, Australia, Germany, the Netherlands and the United Kingdom; the band has also recorded 5 full-length albums, 2 EPs and 1 live album. The Good Lovelies’ most recent album Shapeshifters (2018), saw its first single, “I See Gold”, reach #1 on the CBC Music charts, earning the band a SOCAN Music Award, while their Canadian release tour kicked off at the legendary Massey Hall stage in Toronto. “I See Gold” also made CBC’s Top 100 list for 2018, and received a nomination for “Best Song” at the International Folk Music Awards.

Over the course of their career, the Good Lovelies have written, recorded and performed with many notable Canadians including: Stuart McLean (Vinyl Café), Kathleen Edwards, Fred Penner, Jill Barber, Royal Wood, Robyn Dell’Unto, Lily Frost, Peter Katz and Emma-Lee.

After conducting countless harmony workshops with the Good Lovelies, Passmore has teamed up with choir director Marie Anderson (formerly of La Jeunesse Northumberland Girls’ Choir), and has created a songwriting workshop for Anderson’ new youth choral program: Sounds of the Next Generation (SONG). The workshop was a great success and is currently in its second year.

  • What inspires you to create music?

Finding a way of putting words to music has intrigued me since I was a little kid – and my earliest attempts are pretty entertaining to look back on. I love the moment when all the parts of a song click together at last, that “YESSS!” moment when you feel the song has reached its best version. Finally, when music I have created reaches people, when I hear it has had a positive impact, that inspires me to continue. It’s exciting to know that something I write can make a difference in someone’s day-to-day moments.

  • Do you have a process to your songwriting or when creating music?

I tend to get stuck on a nugget I like in the beginning, be it melodic, lyrical and/or chordal, and the songs grow from there. It’s important to me that a song is lyrically interesting, and I spend a fair bit of time circling around lines until they sound right. I like to remain open to change and to outside input, to letting ideas morph along the way; writing is becoming more of a social activity for me vs an insular one, and I’m learning a lot by working with others. Finally, there’s got to be a test audience of 1 – if I’m hesitant about any part of a song in front of an audience of 1, I know I won’t want it heard by the masses.

  • How did you get your start as a creator in the industry?

I met many musicians during my time at York University, who influenced my path as a creator, and some who I continue to work with today. Shortly after graduation, I found myself in my first band, called Bluesativa, and that was my initiation to the industry as a professional creator. After a solo album release in 2006, Good Lovelies began quite by accident. Co-founders Caroline Brooks, Kerri Ough and I felt we had potential to succeed as a team of creators and decided to run with it – still running 12 years later!

  • How has your music evolved since you first became a recording/performing artist?

Stylistically, it’s been a bit of a ping pong game, moving from jazz to electro-lounge, indie singer-songwriter to folk-roots and western swing, and most recently I’ve been dipping my toes into the world of pop-folk. My approach to lyrics, arrangements, and vocal delivery have also all evolved over the years. I have learned a lot by working with a variety of producers, musicians and songwriters, and have reached an exciting time in my career where I feel my best work is definitely still to come.

  • What do you see in the future for songwriting and music creators like yourself? 

As we’ve always done, I imagine that as songwriters and music creators we will continue to seek out our best songs and sounds, to push boundaries, and aim to reach our audiences in new and unexpected ways.

#ThePROSofSAC #CreatorsCount #MusicCreatorsUnite

Songwriters Association of Canada posts songwriter related news and events as a resource to members. Publishing these posts does not imply that the S.A.C. endorses the teacher, product, service, or company.

 

Pro Member Interview – Karen Kosowski

Karen Kosowki - SM
http://songwriters.ca/member/KarenKosowski

Producer and songwriter Karen Kosowski has one foot in the pop world and the other foot in the country world. She has produced a US Pop Radio Top 40 (Tryon’s “Somebody To Love Me”), a Billboard AC Radio #4 (Emma-Lee’s “It Won’t Be Christmas”) and a Canadian Country Radio Top 10 (Madeline Merlo’s “Motel Flamingo”) – for which she received a nomination for Producer Of The Year at the 2018 CMAO Awards. As an active songwriter, she has contributed to numerous pop and country hits for Canadian and American artists including most recently Brett Kissel’s Top 10 single “Anthem”. Recent releases include producing/co- writing both albums “Fantasies: Volume I” and “Fantasies: Volume II” from Emma-Lee, and co-writing“What A Song Should Do” and “The Worst Kind feat. Lindsay Ell” from Tim Hicks’s latest record “New Tattoo”.

Having written and produced the music for the 2015 Pan Am/Parapan Am Games medal ceremonies, Karen has also landed numerous tv/film placements both on television networks such as HBO Canada, CBS, FX Network, Lifetime Network, TLC, YTV, MuchMusic, NickTeen, Space, and the CW, and in feature films including the award-winning thriller “The Scarehouse” and Wangofilms’ action movie “88” (starring Christopher Lloyd), which garnered her a 2016 Canadian Screen Awards nomination in the category of Achievement in Music – Best Original Song. She also received Producer of the Year nominations at both the 2018 CMAO Awards and in the 2015 NOW Magazine ‘Best of Toronto’ poll.

Karen is currently based out of her own private studio in the exclusive music mecca neighborhood of Berry Hill in Nashville, working with new talent from Liz Rose Music Publishing, Big Deal Music Publishing, BMG Publishing and more.

________________________________________________________

For more information please visit karenkosowski.com

Contact: karen@karenkosowski.com

 

  • How did you get your start as a creator in the industry 

    I’ve been a professional songwriter and record producer for over a decade, but prior to that I actually spent many years as a solo artist. When I first started out writing songs as a teenager, there was a big emphasis in the music industry on singer-songwriter artists who performed their own material (this was the mid-nineties), so I started going out and performing my own songs, and renting gear and producing my own albums, very DIY. But 12 years and several albums later, I realized my true passion was the actual writing and producing, and not the other aspects of being an artist like touring, etc.  I’m grateful for everything I learned from the many years I spent as a solo artist, but I’m much happier helping other artists realize their vision!

  • Do you tend to write for one genre, or do you find your music crosses genre lines? 

    I grew up playing acoustic instruments but then got pretty heavily into programming, so I love experimenting with a hybrid of electronic and organic elements, which lands pretty naturally in the pop-country genre… but i sometimes swing full-on pop, or the opposite, to more rootsy country.  It depends on who I’m writing with and what they’re feeling in the mood to do!

  • Do you ever compose for film/tv/video games? What’s that like? 

    I had the opportunity to write a song for the WangoFilms feature film “88” (with my co-writer Peter Katz) starring Christopher Lloyd.  It was a fascinating and emotional way to write, because we were seeing the picture on the screen as we worked out the music.  Technically it was really different too, because the scene required a really fluid piece, with dramatic pauses… we were writing to highlight the emotion of the scene at every moment.  I got to try out some new things in Logic, and made a lot of use of tempo mapping!

Pro Member Interview – Andrea England

Andrea England - SM (1).png

Andrea England has a unique ability to work successfully in two different music worlds, placing her pop co-writes such as “Casualty” on Pussycat Doll Nicole Scherzinger’s solo debut album, Killer Love (for which she received a UK Gold album award), and recording and performing as a solo artist herself in a folk/roots/country vein. Her sophomore album, Hope & Other Sins, is the long-awaited follow-up to 2005’s Lemonade, the debut that enabled her to work behind the scenes as a professional songwriter.

“The fact I wrote on a song as pop as pop can be boggles the minds of some people,” Andrea muses.

Her latest album, Hope & Other Sins — produced in Nashville by Colin Linden (Bruce Cockburn, Colin James, Stephen Fearing), and featuring such special guest musicians as Carolyn Dawn Johnson, Liz Rodrigues, Gordie Sampson and Damhnait Doyle — is about resilience, much like Lemonade was, how life can knock you down, but nothing good can come from staying down for the count.

Andrea emerged triumphantly after a serious car accident in 2001, the week her debut EP, Heart Wide Open, came out, and then a hard-to-diagnose heart-related illness in 2006 made it imperative for her to take a few years off from recording, get a job with medical benefits — and get well. While she couldn’t make an album just yet, she didn’t stop writing for it.

“It’s a pattern,” she muses. “Something bad happens and I use my writing to get over it and then my songs really impact people because they’re so honest. I feel like I have this sense of being able to look at a situation or empathize with someone and take their story and put it in a song and reflect it back to them in a way that both musically and lyrically can connect. So that’s my goal. That’s why I made the record.”

“Laundry” is a special song written in an old-school country style at the request of her mother, and is for all the women who picture their dream life and it never does include the ugly, mundane or struggle. ”Picture of You” was inspired by visiting Ground Zero 5 years after 9/11 and seeing the still all too immediate impact of it in people’s faces. “Trying” is Andrea’s autobiography, her ‘Coat of Many Colors’ or “Coal Miner’s Daughter,” her story in one song. And “Learn to Dance” is another Lemonade-type song about not hiding when lightning strikes, rather dance around it.

“A lot of the songs on this album have, at the seed, some kind of conflict or struggle, but in the end they are hopeful.”

  • What inspires you to create music?

Life. Loss. Love. The urge to connect, to capture a moment or an emotion – mine or someone else’s – and make it digestible or at least tangible …that’s the goal. I can’t not write about things that move or confuse me; I wouldn’t be me without my pen (or, these days, my iPhone notepad).

  • How did you get your start as a creator in the industry?

I made an EP which garnered radio-play and notice out East. Performing at the first of many SOCAN songwriter circles at ECMAs led me to the producer of my first record, Lemonade. It kind of grew from there….

  • Do you write for other recording/performing artists?

Yep! For and with. Between my own records, that’s what I focus on creatively. If I don’t have a story to tell, I want to help someone else tell their story.

  • Do you tend to write for one genre, or do you find your music crosses genre lines?

As an artist, I’m folk-Americana leaning; but as a songwriter, I’ve written for pop, country, blues, hip-hop and more.

  • Have you faced any major economic, social, or political hurdles as a music creator?

Who hasn’t? Most songwriters – new and established – have to supplement their income at some time or other outside of the craft – especially these days; but I’ve managed to stay afloat over the years by seeking extra income within the music industry rather than outside of it, and that’s been a deliberate choice. Whether I’m writing, teaching, curating, or working on the business side of publishing,  I’m always learning, making connections, and advocating for the craft and for creators.

  • If you could collaborate with any other music creator, who would that be?

Although I write lyrics, music and melody, I’m most passionate about – and driven to – writing lyrics… If I could write a set of lyrics for anyone I’ve not yet written with, Elton John would be at the top of the list. I almost had the chance to write with Lady Gaga way back before she was Gaga but logistics got in the way… it’d be great to get that chance again. There are so many, but those two come to mind first…

  • How did you learn your craft – was it “formal” or “informal” music education?

It was a combination of both: I studied Royal Conservatory organ and then piano growing up, but the structured nature of it didn’t inspire me as a child: there was no room for creativity. Also, although my Mom had had me singing in local variety concerts since I was a young child, I was shy and became more so as I entered my teenage years (during that period, music became a very private matter for me). In University, I studied literature and enjoyed writing poetry and stories; but it wasn’t until  I moved to Ottawa and joined an original band that I was really exposed to the craft of songwriting from the inside – however, the two primary songwriters in that band were not interested in co-writing with anyone else in the band, so at first I was an observer. As luck (looking back now) would have it, I went through a heartbreak, at around the same time the original band broke up, and before I knew it, I was writing my own songs. It wasn’t until I wrote my first song that I realized I’d been training to be a songwriter the whole time.

  • Do you have any advice for upcoming songwriters and creators who are looking to break further into the creative scene?

Record, record, record….and hone your lyrics and melodies until they shine. Don’t give up on your songs, and don’t give up on yourself.

  • What is your fondest musical memory or favourite piece of music you’ve written?

While it doesn’t come from a fond memory, the song closest to me is the one I’m releasing on October 12th, “I Won’t Forget About You.”

  • What is the most important “tool” you need when creating, eg. (Garageband, google docs, your cell phone, Pro Tools, or a pad of paper?

An open mind and an empathetic heart 🙂

#ThePROSofSAC #CreatorsCount #MusicCreatorsUnite

Songwriters Association of Canada posts songwriter related news and events as a resource to members. Publishing these posts does not imply that the S.A.C. endorses the teacher, product, service, or company.

Pro Member Interview – Mo Kenney

Mo Kenney delivers a powerful punch with her third record. A promising young singer-songwriter is now a dynamic artist with a collection of attitude-driven indie rock that will pull at your heartstrings. Mo has won numerous awards and captivated audiences with performances in Australia, Europe, the UK and the US.

 

  • How did you get your start as a creator in the industry?

I started playing guitar when I was 11 years old and immediately fell in love. I didn’t start writing songs until I was 14 or 15. I loved music so much that I knew I wanted to pursue a career in some capacity. Joel Plaskett really gave me my start. We met when I was 16 and in my early 20’s we ended up working together on my first record. Without his guidance and mentorship I wouldn’t be where I am today! He is still the person I go to if I want an opinion on any new music I’m working on.

  • Do you write for other recording/performing artists?

I have collaborated with other artists on songs that have ended up on their records, or that they have ended up recording for themselves. I didn’t co-write until I attended the Gordie Sampson Songwriting Camp when I was 21. I’m so thankful for that experience because it taught me how to write with other writers. It’s not something I do very often, but every once in a while I’ll co-write with someone.

  • How did you learn your craft – was it “formal” or “informal” music education?

I started guitar lessons at the Canadian Conservatory when I was 11. I took lessons for about 4 years and then stopped. I taught myself how to finger pick and I taught myself how to sing.

 

#ThePROSofSAC #CreatorsCount #MusicCreatorsUnite

Songwriters Association of Canada posts songwriter related news and events as a resource to members. Publishing these posts does not imply that the S.A.C. endorses the teacher, product, service, or company.

Pro Member Interview – Deric Ruttan

Deric Ruttan is a Grammy-nominated, Nashville-based singer/songwriter and a Canadian country music artist.  The writer of multiple #1 country songs, Deric was raised just outside Bracebridge, Ontario, on land where his great grandfather made moonshine in the 1930’s.  It was the perfect backdrop for the singer/songwriter, who grew up listening to everything from CCR to Gordon Lightfoot to Johnny Cash. 

After touring with several country bar bands, Deric moved to Nashville, where his unique outlook and delivery attracted the attention and praise of songwriters Don Schlitz, Steve Earle, and Steve Bogard.  Deric has had over 70 songs recorded by other artists, including cuts by Blake Shelton, Jason Aldean, Eric Church, Tim McGraw, Dierks Bentley, Darius Rucker, Justin Moore and David Nail to name a few.  Bentley’s chart-toppers “What Was I Thinkin’”, (Billboard #1), and “Lot Of Leavin’ Left To Do” (Radio & Records #2) are Ruttan co-writes, as are the Eric Church hits,  “Guys Like Me” and “Hell On The Heart” (Mediabase #8).  Since signing with THiS Music/Warner Chappell, Deric’s songwriting star has continued to rise.  In November 2013, he celebrated a multi-week #1 song when “Mine Would Be You”, recorded by country superstar and The Voice judge Blake Shelton, was a three-week number one (Billboard) for the artist.  “Mine Would Be You” was also nominated for a Grammy Award for Best Country Song, and an ACM Award for Song Of The Year.  In June 2016 Deric celebrated his second Blake Shelton #1 hit with the introspective “Came Here To Forget”. 

In July 2016, MCA Nashville’s David Nail took the Ruttan summer anthem “Night’s On Fire” to #10 on the Mediabase chart, and in April of 2017 Deric celebrated his 4th #1 country single when Jason Aldean took his song “Any Ol’ Barstool” to the top of both the Billboard and Mediabase country charts.  An ASCAP (8x), SOCAN (10x), CCMA (Canadian Country Music Association) (2x), and CMAO (Country Music Association Of Ontario) (5x) award winner, Deric has headlined 4 of his own coast-to-coast tours in Canada, where he has had 11 Top 10 singles as an artist, and 2 #1 videos on CMT.  He is currently in the studio recording music for a new EP, to be released on his own independent label, Black T Records.  He lives just outside Nashville, TN with his wife Margaret.

  • What inspires you to create music?

Fear of poverty.  No, but seriously…the fact that I have a family to support is my inspiration to work everyday writing songs, recording songs, and trying to get songs recorded. For me, inspiration shows up when I do.  You have to show up, inspired or not, and get to work.  Hopefully, inspiration will show up at some point during the process.

  • Do you have a process to your songwriting or when creating music?

My preferred method is to start with a title that inspires me. Also, coffee. Lots of coffee.  Then, I like to kind of sketch out a storyline of how I see the song unfolding – not literally sketch it out, but have a general idea of how the song is going to go.  This can be in my head if writing alone or something I talk through with a co-writer.  After I have an idea and a general outline that I’m excited about, I pick up a guitar and get to work on melody.

  • How did you get your start as a creator in the industry?

This is a hard question to answer…not sure when the “start” was…but as far as my professional songwriting career goes, I signed my first publishing deal in Nashville in 1996 – a year and a half after moving here.  Music row veteran Jerry Crutchfield signed me to my first publishing deal and paid me to write songs.  He was the first person here to pay me to create.

  • Do you write for other recording/performing artists?

Yes.

  • Do you tend to write for one genre, or do you find your music crosses genre lines?

I’ve certainly written some pop-leaning country songs, but most of my activity (as far as songs I’ve written that have been recorded by others), have been pretty mainstream county sounding songs.

  • What is the most important “tool” you need when creating, eg. GarageBand, google docs, your cell phone, Pro Tools, or a pad of paper?

Cell phone (only because that’s where I write down my titles and ideas), guitar, lap top, online rhyming dictionary.  In that order. Oh, and coffee. Lots of coffee.

  • If the music community could do one thing better what would it be?

Be more united when it comes to facing down those who seek to use our content for free (streaming services, for example).  If we (labels, publishers, artists, songwriters) were better at speaking in one clear, united voice, it would be a great thing.

#ThePROSofSAC #CreatorsCount #MusicCreatorsUnite

Songwriters Association of Canada posts songwriter related news and events as a resource to members. Publishing these posts does not imply that the S.A.C. endorses the teacher, product, service, or company.

Pro Member Interview – Darryl James

Darryl James - SM
http://songwriters.ca/member/DarrylJames

Darryl James has been writing and touring with the Strumbellas for the past 9 years and has seen one of his co-written songs “Spirits” become an international hit going “Double Platinum” in Canada, “Gold” in the USA and “Gold” in Germany. “Spirits” also have over 120 million Spotify streams and over 54 million Youtube streams worldwide, so Darryl understands what it takes to write a hit single! 

Over the past 2 years, Darryl has made songwriting one of his main priorities with the goal of writing songs with for other artists. In the last 6-12 months, Darryl is now co-writing with grammy nominated artists and producers regularly, signed a recent publishing deal with Kobalt Music Publishing, and has judged for both SOCAN and CARAS for various industry awards. 

  • What inspires you to create music?
I love creating music that connects with people and what they’re going through in their lives. When fans tell me that my music relates to them in any way, it means the world to me and inspires me to write more!
  • Do you have a process to your songwriting or when creating music?
Yes. First, I create the melody and chords in a voice memo. From there, I try to write another melody to connect the two or co-write with someone to create something unique. I generally work on lyrics last.
  • How did you get your start as a creator in the industry?
I’m an original member in the band, The Strumbellas. It was my first band, and first time experiencing the industry.
  • How has your music evolved since you first became a recording/performing artist?
In The Strumbellas, we try to work with a new producer every record and push our sound to something new, and exciting. Each of us in the band is always trying to find new music that inspires us and then build from in our own projects.

  • Do you write for other recording/performing artists?
Yes. I am signed to a publisher called, Kobalt Music Publishing. I pitch songs to other artists and for sync opportunities.
  • Do you tend to write for one genre, or do you find your music crosses genre lines?
I enjoy writing for other genres, but feel most comfortable in writing folk/country songs.
  • Have you faced any major economic, social or political hurdles as a music creator?
Economically, the first 8 years of being in The Strumbellas was a struggle. I ran my own consulting business on the side, just to make enough money to support being in the band, and supporting my family.
  • Do you have any musical influences who have influenced your style, or who you give a “nod” to whenever possible?
Our lead writer in The Strumbellas, Simon Ward. He writes “Huge” hooks and is always working to write better songs. It has been inspiring to learn from him throughout the last 10 years, and he’s influenced my work ethic and style for songwriting.
  • If you could collaborate with any other music creator, who would that be?
To be honest, I love collaborating with anyone. I find the experience so memorable and inspiring.
  • How did you learn your craft – was it a “formal” or “informal” music education?
It was very informal. I played guitar around the camp fire and then transitioned to bass guitar and song writing, but that wasn’t until I was in my 20’s. Therefore, never be worried about when and how you start writing your first songs. It can happen anytime.
  • Do you have any advice for upcoming songwriters and creators who are looking to break further into the creative scene?
Write as many songs as you can, and don’t be scared to co-write with other creators.
  • What is your fondest musical memory or favourite piece of music you’ve written?
My fondest memory is when our song, “Spirits” climbed the USA alternative charts and reached #1 for 3 weeks. The excitement and opportunities that song presented over the last few years were life changing and inspired much of my current work.
  • What is the most important “tool” you need when creating, eg. GarageBand, google docs, your cell phone, Pro Tools, or a pad of paper?
I’d say a voice recorder and a note pad. When you feel inspired or even when you don’t feel inspired, write some melodies and lyrics at any time of the day, and go back and listen every month or so.
  • Do you ever compose for film/tv/video games? What’s that like?
I’ve started to write songs to pitch to film and television and in The Strumbellas, we’ve had a lot of sync placements with our last record. Overall, it is an amazing experience to hear a song you’ve co-written in a film, commercial or video game. And, even more rewarding when fans/friends come up to you and tell you about those placements!
  • How can S.A.C. help you?
I’d love to use the S.A.C to build my songwriter’s professional network by going to songwriting camps and connecting with other writer’s.
  • If the music community could do one thing better what would it be?
For the industry to be more inclusive of females and minority groups in leadership roles along with equalling out the opportunities for females/minority groups in the recording/production, and live music scenes.
  • What do you see in the future for songwriting and music creators like yourself? 
With the internet, and the ability to put your songs out into the world within seconds, I feel like the opportunities are endless. 15 years ago that really wasn’t possible, and I’ve seen first hand how a songwriter can be found from a song on a SoundCloud link or Youtube video.
#ThePROSofSAC #CreatorsCount #MusicCreatorsUnite