GETTING YOUR MUSIC OUT THERE
By Holland DavisWe live in a quickly changing world where technology has forever altered the way we find, listen to, purchase and distribute music.
In the house of worship community, there are certain unique ingredients to making a song a success. Just as in the secular music industry, listeners in the house of worship community need to grab hold of the tried-and-true aspects of what makes a song popular; catchy melody, good production, tight sound, etc. But what is the right mix? Is there a perfect recipe for writing a successful, marketable song? Is this process different in the worship realm than it is in the mainstream?
TFWM recently had the opportunity to speak to five of the leading distributors and influencers of worship music around the globe. Holland Davis, key correspondent for TFWM and a worship leader/musician who is always on the move, caught up with some heavy hitters to ask them what the right components are for making up a quality serving of an easily-consumable worship song.
THE INTERVIEWEES:
Craig Dunnagan, Vice President of Worship Resources for Integrity Media and the originator of the Global Worship series.
Anne Mabry, the Director of Worship and Copyright Development for Word Entertainment.
Mark Pusch, Inside Out Network also known as ION.
Noel Richards, Kingsway Songwriter and founder of WorshipJournal.com
Chris Thomason, President / CEO of Indelible Creative Group.
Holland Davis: A worship leader calls you up and says... I have a new song... what do you look for when considering someone for distribution? How do you know when you have someone who is ready for distribution?
Anne Mabry: When we are looking at corporate worship songs as a music publisher, we are looking for compelling, original well crafted songs with instantly accessible melodies, well thought through lyrics that are biblically sound in a realistic range for your average church attendee.
Craig Dunnagan: When we look at a new artist, church or ministry for potential release, we don’t just look at the quality of the recording and the quality of the songs. We try to listen beyond the music and get to know the ministry to see if it’s someone we believe is ready and poised to occupy a bigger platform. That often means that there’s as much potential (or fertile ground) for the future as there is quality right now. Obviously, the quality and impact of the songs and recording as they exist right now directly affect how much can be done around a particular release.
Noel Richards: One consideration is to ask if they are part of a movement or denomination that is already giving their work and ministry some profile. That ensures a core base of people who are interested in their music.
Chris Thomason: Products and songs are two different categories. A song has the possibility of appearing on various products. Things we look for in a worship song include: content (theologically correct and a good story), a great and ‘singable’ melody line, the song structure and whether it can be easily duplicated by others.
Products have a different set of criteria and possibilities. The things we look for are GREAT SONGS, a sense of mission (why does it exist), an existing audience (who will want this), our market research (is it viable to the market?) and most of all did I mention GREAT SONGS!!!
Mark Pusch: This is a scenario that we run in to on a regular basis. Often we have CD’s mailed to our office or someone has emailed asking how their songs can be distributed. First of all, we don’t assume that every song written and/or every worship leader should be recorded and distributed. Given our global distribution networks, ION has a limited number of opportunities for albums to get into the “system”. Unfortunately we’re often brought into the equation once an album is done so we have no input or involvement in the project. It isn’t easy to write a great worship song that has influence beyond a local church or region. Relationship is the key for us in both considering and knowing when someone is ready for distribution. First of all, are they ready for worldwide exposure and secondly, are their songs ready for worldwide exposure. Of course there are other considerations as well such as: is the project commercially viable, are our distribution partners on board, timing issues, etc, etc.
HD: Do you have systems in place such as looking at MySpace, Facebook or other websites for you to discover new writers? Do you have your own websites that you use? How do you look for new material?
AM: We find new material in a variety of ways. We get a lot of songs via word of mouth from trusted relationships. We check out MySpace and websites of writers that are recommended to us. We also have a website, www.worshipsource.com, where we allow independent songwriters to create a profile and upload their own songs for other worship leaders to hear. Monthly, we accept songs for consideration through the Song of the Month where we feature on our home page an unpublished song. We listen to all the songs submitted for consideration and it is our desire to identify songs that would benefit from a larger platform.
CT: We do have Facebook and Twitter on our website and have partnered with Indieheaven, Lifeway, and other ministries to develop and collaborate on new songs and products.
We are one of the label sponsors at the National Worship Leaders Convention this year and of course will be talking to people there. I find after doing this for 22+ years that relationships are the key. A lot of the new things come through existing relationships. We are careful not to take on too much to overextend our ability to serve the ministries we are working with on a daily basis.
MP: ION is structured a little differently. We are not primarily a record company but rather a community that seeks to have relationship with like-hearted, like-minded worshipers. It’s out of relationship that we discover the artisans and songs. At that point we have a production arm that can facilitate the exposure of the worship artisan or song. It’s almost the exact opposite to a record label in that they look for the material first and then establish a relationship. We’re looking for a relationship and if something comes out of that, we have the ability to expose the material.
CD: We try to see and hear where something is stirring and investigate those “hot spots” of activity. I’ve often told writers at conferences: “Don’t call us, we’ll find you!” In rare cases we have found a song through submissions. It is indeed very rare.
NR: I set up the www.worshipjournal.com website, because I wanted to encourage unsigned writers. Everywhere I go, I encounter songwriters who are looking to share their songs as widely as possible. Often, publishers do not have enough hours in the day to trawl through demos. Word of mouth can be the best way of hearing about a great song. So I set up this website in order for songs to be easily accessed and for the ones that really connect, to travel as widely as possible. I also wanted to see the church resourced with songs that may not necessarily be in the CCLI Top 25. My concern is that we often end up singing what every other church is singing.
HD: What role do you see local churches or church movements playing in song distribution?
AM: Some of the biggest worship songs were organically spread through the church because they were songs God was using. They didn’t require a big marketing push or official distribution. I think worship pastors share that information, when a song is working for their congregation they tell their friends. That is why we want www.worshipsource.com to provide a community that facilitates that conversation.
NR: It seems that every church movement gives birth to new songs. It is a good idea to check out the various church streams and movements, to see what great new songs are being written there. Local churches are the key places where songs are used. If you are a writer, your home church is the place to test a new song. If it works there, maybe it will work for other congregations.
CD: I am a firm believer that local churches are best equipped to train, raise up and send out talented people whose desire is to have an affect on other churches. Not every church has this calling or this ability. It’s a special place where leaders can lay aside their own profile or ambitions and develop a team that works together for the success of one another. I see so many churches that have one or two people who define the musical profile.
MP: Local worship leaders should be looking for songs that their communities can sing. By that, I don’t mean level of difficulty or style (though these things are important). An interesting trend has developed over the last 10 years or so. The worship ‘industry’ and radio have by and large influenced the songs that are being sung in churches today. Worship leaders are servants of their communities with the responsibility to find songs their community can engage with - whether or not the songs are on CCLI’s top 100 or not. We do a disservice for our communities if we care more about what the rest of the church is singing rather than finding the song our community can sing.
CT: Obviously, churches are the main users of worship music and where all the great movements in worship started. Great songs will continue to rise from local churches and will continue to be the life-blood of worship. CCLI is the greatest example of how songs move and will continue to impact distribution of worship music. The challenge of course is that the traditional business models are changing and no one really knows where it is going to land at this point. I believe the greatest advice you can give anyone is to get planted in a local church under great teaching from the Bible. I believe that is where the next great worship song is: under great teaching from the Word!
HD: How has the internet changed the music industry? How are you responding to those changes and in what ways are you using the internet for song distribution?
AM: The internet has dramatically increased the consumption of music and made it possible for more niche music genres to find an audience. It has also sped up the life cycle of a song. There is a much shorter window between when a song is written and when it is being used in churches.
Worshipsource.com offers a new worship song every week with a free chord chart from known worship leaders or writers from various publishers.
CT: The music industry history has always been built on technology. From Edison with his tin foil coated cylinders, to phonographs, 8-tracks, cassettes, CDs, and now digital downloads. The convenience factor has always been the issue, then sound quality, and now back to convenience. The delivery system for music will never be the same and I actually find that is very exciting. The revolution has started and will continue. An interesting fact for most readers: in 2008 according to the RIAA (Recording Industry Association of America), although CD sales were still declining, 85% of all music sold was physical goods. That means that digital is growing but still has a long way to go to be the sole delivery system.
At Indelible Creative Group we are using digital in the “normal” forms through our distribution channels. We are on iTunes, Amazon.com, Wal-mart.com, Napster, etc... We are also utilizing exclusive download pages, web contests, and streaming to give the listener an opportunity to get free music and to experience the music before buying.
MP: If a worship leader is looking for a particular type of song for a worship set, it’s so easy to find exactly what they need. Technology is wonderful! The downside, as I see it, is that we’re now bombarded with resources, each one claiming they’re the best and your worship experience will be greatly enhanced if you incorporate it.
CD: The internet has made it easy to use music to draw people to destinations. Music and Media has never been more accessible with more opportunities for attention but monetizing that attention is a daily challenge.
NR: The availability of songs via the web, has impacted on CD sales dramatically. At the click of a mouse, we can access thousands of songs and albums instantly. People can now get their music for free. Just because an artist prevents songs from being downloaded from MySpace, does not necessarily mean they will not be. There needs to be a new business model that embraces free, unlimited access to great music while generating income for the publishers and writers.
HD: What are some tips you would give to an independent writer in terms of what they can do to market their songs and get them heard?
AM: This isn’t the answer you want to hear, but if the songs work in your church and then in the churches of your network of friends, that will start the word of mouth necessary to open doors to a broader opportunity.
CT: I think all of the digital venues are creating new platforms for people. Facebook, MySpace, and “indie” communities are valuable. Attend seminars and cultivate relationships with people who are “better than you”. Viral is the answer. As our buddy Seth Godin (author of Purple Cow) says, “You need sneezers,” people who will tell others and help the virus spread!
CD: Get your songs used and heard on the platforms that you use on a daily basis. The challenge is getting conspicuous and sustainable attention for your music and ministry. The internet doesn’t make successful marketing easy. It just makes it easier to engage in the basic activities of marketing.
MP: I would always encourage writers to first focus on their local communities. Then look for opportunities for songs to have a broader influence in the city or region where they live. If it begins to go from there, great! That’s a nice problem to have. However, most writers feel that as soon as their song is finished, they have to get it out to the whole world. Statistically I don’t know what the odds of that happening are but its got to be less that 1% of the worship songs written go beyond a local church or small group. So let’s take the pressure off the writers to hit a homerun and instead focus on serving their local communities. The rest will take care of itself.
NR: Get out and play them yourself. You are the best one to promote your own material. Create an audience for your music by sheer hard work. Use websites such as ours, to get your songs to the widest possible audience.
HD: What final words of encouragement would you give to an independent worship leader or songwriter?
AM: It’s easy to say but the best thing I can tell them is to keep working at it. Keep developing your craft, keep stretching yourself in the songs you write, look for opportunities to write with writers you would consider better than you or even just different than you.
MP: As a primary focus, write great songs for your church community. John Wimber, former Vineyard leader and musician/arranger with the Righteous Brothers, would tell young songwriters: “Songwriting is 10% inspiration and 90% perspiration.” Become a better songwriter by sharing songs with other writers, reading songwriting books, utilizing all the amazing resources out there. Listen to music... not just worship but all kinds of music.
CD: Don’t let your desire for exposure or a bigger platform drive your ministry. The minute you do that you will start imitating and pursuing what others are doing rather than pursuing God. We don’t need imitators in the Christian music industry; we need people who have been alone with God, heard from Him and are delivering those unique revelations from His Word and His presence in a pure and excellent way. I’m not looking for good or even great music. I’m looking for transforming music; music that transcends style and comparison and moves you into an encounter with God.
NR: Don’t compare yourself with the ‘big names’ of music. They represent a small part of the huge global community of songwriters. You may or may not rise to their heights. But what is important is that you be the best craftsman that you can be, you write songs that come from your heart and you take every opportunity, however large or small, to connect with an audience and enrich their lives with your music.
CT: First, let me say there is no substitute for spending time with God and His Word. If God has given you talent to write music, the ultimate inspiration is going to come from the ultimate source of creativity: God. Next, observe people who are good at their work. Read books, attend seminars, take classes, and write and lead worship A LOT! Lastly, don’t be afraid! Is it possible the Creator of the Universe can find a creative solution for you? I will wait a moment while you ponder this. OK, the answer is yes! It may be further out on the edges of where you have been before, but isn’t that just like God to stretch us farther and push us to be all that we can be?
To summarize, there are tried and true strategies for getting your song out there. Lead worship and include your original songs in as many different settings as you can. You are the best representative of your song. Incorporate modern technologies such as MySpace, YouTube, Facebook and “indie” websites to create additional platforms for your songs. Develop a community of worship songwriters that play each other’s songs as part of their worship set lists. Write great songs that people want to sing. But in all honesty, it’s ultimately God that chooses what songs He’s going to show favor on. After all, worship is really for Him anyway.
