Guest post by Canadian entertainment lawyer Byron Pascoe Whether you’re a music producer, or a performing artist working with a producer, it’s important to discuss the terms of your arrangement with each other. While it’s better late than never to formalize the artist-producer relationship, it’s easier to start the conversation before heading into the studio, and much easier before the music generates interest and money. What does a producer do? They generally oversee the pro

You often read blogs about music licensing that touch upon the importance of what to include in your email pitch, how to find who to contact about a project, and even how to position your music for greater success in the world of licensing. What often goes unsaid, however, are the small, yet important, details (known as micro-tasks) that make the difference between a migraine-inducing process and a money-generating one. When submitting music for licensing, be prepared and tre

On June 29, prolific singer and frontwoman of the Eurythmics Annie Lennox posted on Facebook about receiving an email from a music promotion company. That letter, like thousands of others sent every day to musicians all around the world, was a cold-call blast that, more than likely, was a scam. I think I'm in with a chance ??!!! The email reads: Dear Annie Lennox, Kylie here from [redacted] Radio Los Angeles! I came across your music on line and really like what I heard! I’m

Laura Sisk is pop music's secret weapon. I had never heard the name Laura Sisk until I interviewed Tom Krell, a.k.a. How To Dress Well, last summer. Discussing his then-new album, Care, Krell told me about working with Jack Antonoff (Bleachers, fun.) on a luminous pop song called "I Was Terrible." It was then that he asked, "Have you heard of Laura Sisk?" and informed me that she had produced his vocals for the song. "She's a rad, funny, calm person in a field dominated by an