Where rising artists can get heard.
NMR website featuring new Indie artists, they feature Artists in Focus and also many others On the Radar weekly.
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After the cinematic sweep of Odyssey earlier this year, French post-rock/folk collective
KWOON now turns inward with a new chapter: the acoustic album Unplugged from the
Moon.
Led by the haunting single Chesslove, the record strips away effects to reveal the raw
essence of Kwoon’s universe — delicate, timeless, and deeply human.
Unplugged from the Moon serves as an “unplugged best of, breathing new life into
highlights from the band’s discography while introducing Chesslove as a luminous
centerpiece.
Electric guitar lines transform into sweeping string arrangements, while folk
textures, piano, and choral layers imbue the music with neoclassical grace.
The result is an intimate fireside atmosphere — music that drifts between gentle melancholy
and quiet poetry, inviting listeners to close their eyes and rediscover Kwoon in its purest
form.
Kwoon – Swan ( Acoustic Pop / Folk
The Boss Katana and Airstep can be confusing at first, especially if you’re new to using foot controllers.
In this video, we break things down to a simple starting point, showing you how the Airstep footswitches work in:
🔵 Blue Mode (Amp Mode) – switching and controlling amp functions
🟢 Green Mode (FX Mode) – navigating and activating effects This guide is perfect if you’re setting up your Katana for the first time or want a clearer understanding of how the Airstep integrates with it.
If you find this helpful, consider liking, subscribing, and commenting with any questions you’d like covered next!
Review – Boss Katana Airstep basics
Today I want to talk about something that doesn’t get discussed nearly enough in the music world: anxiety. Whether you’re a brand-new artist or someone who’s been releasing music for years, anxiety can creep in quietly and affect not just how you create, but how you see yourself long-term.
Depression, self-doubt, anxiety about songwriting, production skills, image, and even relevance—it all adds up. In the current music landscape, with its constant noise and pressure, it’s no surprise that so many artists feel overwhelmed.
Where Does Artist Anxiety Come From?
First, it’s important to acknowledge that people are wired differently. Some artists have a higher threshold for stress, rejection, and uncertainty. Others feel things more deeply. Neither is right or wrong—but it explains why the same situation can affect artists in very different ways.
For new or relatively unknown artists, anxiety often starts with questions like:
What do I look like?
Do I look “right” as an artist?
Does my song sound good enough?
Is the mix professional?
Should I spend money on promotion?
Do I need better YouTube thumbnails?
Where do I even start—and how much should I spend?
Individually, these questions seem manageable. Together, they form a mental barrier that can completely stop an artist from moving forward.
Breaking It Down, One Step at a Time
One way to reduce this anxiety is to stop trying to solve everything at once. Tackle problems one at a time. Some things are easier to change than others.
Image and Identity
You can change your image if you want to. Music history is full of artists who created personas to support their sound—Elton John, David Bowie, and many others. That separation between the artist and the person can sometimes be freeing.
But there’s no point forcing an image that doesn’t feel authentic. If it’s not you, it won’t last—and it may increase anxiety rather than reduce it. For many artists, staying true to who they are is far less stressful.
Some people even choose to remain faceless online, especially on platforms like YouTube. Personally, when I started doing YouTube (not as an artist, but as a creator), I was a little self-conscious at first. But after years of posting and over 100 videos, I can honestly say no one has ever commented negatively on how I look or sound. Most of the fear exists only in our own heads.
“Is My Song Good Enough?”
This might be the biggest source of anxiety of all.
Once you’ve written a song and gone through a basic quality process—arrangement, recording, mixing to a reasonable standard—there’s not much more you can do. Whether people connect with it or not is something only time will tell.
I don’t really believe in songs being “good” or “bad” in a subjective sense. Unless something is musically broken—out of time, out of key, or poorly executed—it’s simply a piece of music waiting to find (or not find) its audience.
What causes real stress is when artists upload their music… and nothing happens.
The Reality of the Modern Music Landscape
Because of the sheer volume of content being released every day, nothing happening is actually the default outcome. If something does happen, it’s a bonus.
Algorithms are confusing, inconsistent, and often opaque. Honestly, I’m not sure even the platforms fully understand how they work anymore. Sending your music into the void can feel brutal, especially when you’re emotionally invested in it.
This often leads artists to withdraw—to stop sharing, stop engaging, and sometimes stop creating altogether.
Engagement Over Promotion
One thing I’ve learned over time is that engagement matters more than constant self-promotion.
Through platforms like Twitter (especially earlier on), Facebook groups, and now Threads, I’ve met some genuinely interesting people—some of whom turned out to be in influential or well-connected positions in the industry. You rarely know who you’re talking to at first.
Engage in discussions. Comment thoughtfully. Be present. Most people won’t click a random music link—but they willinteract with ideas, conversations, and visuals.
On my own website, I’ve noticed that images often get more clicks than text. A strong visual can be a gateway into deeper engagement, but obsessing over perfection will only fuel anxiety.
When Anxiety Turns Into Something More
This is the hardest part.
I regularly see short posts on Threads that say something like:
“I’m fed up. I’ve posted everything. Nothing is happening.”
It might look like a throwaway line, but often there’s someone genuinely struggling behind it—someone who feels lost, unheard, and close to giving up.
This is how anxiety can spiral into depression. When effort doesn’t seem to equal progress, it’s easy to internalise failure.
A Difficult but Honest Truth
There is another side to this conversation, and it’s uncomfortable: not everyone is naturally suited to everything they want to do.
Just like in sport—if you’re not built to be a competitive athlete, no amount of effort will make you win races. Music can be similar. Some material is strong, some is average, and some simply doesn’t connect.
That doesn’t mean creating music is pointless. It does mean that tying your self-worth entirely to external validation is dangerous.
Final Thoughts
Artist anxiety is real, widespread, and often invisible. The key is to:
Break problems into smaller steps
Focus on engagement, not instant success
Accept uncertainty as part of the process
Separate your identity from outcomes
Most importantly, remember this: making music is not a failure just because it doesn’t blow up. Sometimes the act of creating is enough—and sometimes that has to be okay.
You’re not alone in feeling this way, even if it feels like you are.
Artist Anxiety – Yes it’s real, but you
Forgive me starting with the basic but I wanted this to be super accessible – we’ll move quickly after a little scene setting…
Sync licensing is when you allow your music to be “synchronized” with visual media — TV shows, adverts, films, video games, streaming content etc. You get paid for this usage and need to register with publishing companies to make the most of it and for the most part, early stage artists find opportunities through agencies and/or synch agents. So let’s get stuck into the subject and how you get positioned well to get some love for your tunes.
Note that for independent artists, sync is one of the best ways to make meaningful income from your catalogue. It also puts your music in front of new audiences, increases the value of your songs, and can lead to more opportunities (like brand partnerships, collaborations, or even new deals).
Sync is very competitive – surprise. 😱 Supervisors (the people who choose the music for projects) need music that is legally clean, properly formatted, instantly accessible, and emotionally on point for their project. If you’re not prepared, your track won’t make it to the shortlist.
This guide walks you through exactly how to prepare, where to pitch, and how to move from “decent catalogue” to sync-ready artist. I strongly suggest reading through this article and if your interest is piqued connect with the platforms outlined and also a synch expert who can give you bespoke support.
Note: This article is taken from the The Team Around You Substack that you can sign-up to for free…
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This is relevant for you – here’s why 👇
Sync isn’t just about a single cheque. It’s about building multiple revenue streams and increasing the long-term value of your music.
- Upfront fees: These are paid when your music is licensed. For independents, this can range from a few hundred pounds for small placements to tens of thousands for major campaigns.
- Ongoing royalties: Every time your music is broadcast or streamed as part of visual content, you earn performance royalties (collected through PRS and other societies).
- Audience growth: A placement in the right show, ad, or game can expose your music to millions of people overnight.
- Catalogue value: A sync-ready catalogue makes you more appealing to labels, publishers, and investors.
What sort of synch opportunities are there (and How Much They Pay)?
Sync isn’t one-size-fits-all. Here are the main types of placements you can target:
- Television – Songs placed as background cues, themes, or in trailers. Typical fees: £500–£5,000 + royalties.
- Film – Includes soundtrack placements or trailer use. Indie films often pay £1,000–£10,000, while major studios may pay £5,000–£50,000+.
- Advertising – Music for brand campaigns, social ads, or online marketing. Fees vary hugely: £250–£100,000+, depending on campaign size and brand.
- Gaming – Tracks used in games, esports content, or game trailers. Typically £500–£10,000.
- Streaming Platforms – Netflix, Amazon Prime, Disney+, etc. These can pay £1,000–£25,000, depending on usage and territories.
- Corporate/Branded Content – Music for internal videos, events, or promotional material. Usually £500–£5,000.
- Podcasts & Audio Content – Theme songs or transitions for podcasts or audio dramas. Usually £200–£2,000.
Step 1: Get Your Rights in Order (Non-Negotiable)
Supervisors only work with tracks that are “clear for licensing.” This means no legal complications, disputes, or unapproved samples.
You’ll need to:
- Register with collection societies:
- PRS for Music – Collects your performance royalties. (£100 fee, or £30 if under 25).
- MCPS – Collects mechanical royalties when your music is reproduced for sync. (£100 fee).
- PPL – Collects royalties for recordings and performers (free to register).
- Sign split sheets: Every songwriter and producer must agree in writing who owns what percentage of each track.
- Get session agreements: Anyone who played on your recording must sign a “work for hire” or session agreement.
- Clear samples: If your track uses samples, they must be cleared with the original rights holders.
If you can’t confidently say “I own/control 100% of this track and can license it immediately”, you aren’t ready to pitch it for sync.
Step 2: Prepare Your Music for Sync
File Types You Need
Supervisors need options — and they need them immediately:
- MP3 (192kbps+) – For pitching (quick listening).
- WAV/AIFF (16/24-bit) – For final use.
- Instrumentals – Every track should have a vocal-free version.
- Clean versions – If your lyrics are explicit, create clean edits.
- Optional: Stems – Individual parts of the track (e.g., vocals, drums).
Metadata (Your Music’s ID Card)
Metadata is how your tracks are found in libraries and playlists. Incomplete metadata = missed opportunities. There’s a template here that you can copy to get started capturing all your metadata for synch opportunities.
Include:
- Song title & artist name
- Genre & sub-genre
- Moods (uplifting, tense, dreamy, etc.)
- BPM & key
- Lyrical themes (e.g., love, empowerment, rebellion)
- Instrumentation
- ISRC codes & PRS/MCPS work IDs
- Ownership details (who controls publishing & master rights)
- Contact info (email + phone)
Production Standards
- Mix and master to broadcast quality.
- Avoid long fade-outs (supervisors need clean endings).
- Make sure your tracks have dynamic sections (builds, drops, breaks) — these make your music more usable.
Step 3: Organize Your Catalogue Professionally
Random Google Drive folders won’t cut it. You need a professional hub for your music, where links don’t expire, files are properly labelled, and metadata is included.
Recommended tools:
- DISCO – The industry standard for pitching music. Lets you tag tracks by mood, genre, and rights info.
- Bridge.audio – Great for cataloguing and sharing large libraries.
- Dropbox Pro – Cheaper, but less search-friendly for supervisors.
Organize your music by mood, genre, and potential use (e.g., “Upbeat Indie Pop – Good for Ads”).
Step 4: Where to Find Sync Opportunities
There are three main routes into sync: agents, libraries, and DIY pitching. Here’s what that means:
1. Sync Agencies (They Pitch for You)
These companies represent your music to supervisors and handle the pitching/admin side. They usually work on a commission basis (taking a cut of the upfront fee).
- Music Gateway – A UK-based platform that works with Disney, Netflix, Universal, and others. They require a subscription and handle licensing on your behalf.
- A&G Sync – A boutique UK agency with strong TV/streaming placements (Netflix, BBC). They accept submissions via email.
- Bodega Sync – A US agency connected to Symphonic Distribution; great for North American placements.
- Nova Music – A UK agency known for high-profile TV placements (Love Island, BBC).
2. Production Music Libraries (They License at Scale)
Libraries are massive catalogues that supervisors search when they need tracks. They often take either exclusive or non-exclusive rights (read contracts carefully).
- Audio Network – One of the largest UK libraries (280,000+ tracks).
- Music Vine – A curated UK-based library for film, TV, and branded content.
- Epidemic Sound – Huge platform for YouTubers, advertisers, and brands.
- Artlist – Popular with content creators and indie filmmakers.
3. DIY Platforms (You Pitch Yourself)
If you want to stay fully independent and keep all control, these platforms help you pitch directly:
- Songtradr – A global marketplace for music licensing with AI-driven matching.
- UnitedMasters SELECT – A distribution platform with strong connections to gaming sync opportunities.
Step 5: How to Approach the Industry (Without Burning Bridges)
- Send only your best 2–3 tracks (not full albums).
- Use streaming links (DISCO or similar). Don’t send attachments.
- Keep emails short (under 100 words). Supervisors are busy.
- Include your rights status (“I control 100% of publishing and master”).
- Wait at least 3 weeks before following up — and when you do, send new music, not a reminder.
Step 6: Build Your Network
Many sync opportunities come from relationships.
- Attend conferences like AIM Sync (UK’s leading sync market).
- Follow supervisors on LinkedIn/Twitter and engage professionally.
- Research trends on Tunefind (see what’s being placed in your genre).
Your Sync-Readiness Checklist
- Register with PRS, MCPS, and PPL.
- Sort your rights: signed split sheets, session agreements, sample clearance.
- Create multiple versions: WAV, MP3, instrumentals, clean edits.
- Add metadata to every track.
- Upload to DISCO or Bridge.audio and organize by mood/genre.
- Research & shortlist 10 agents/libraries that fit your music.
- Prepare a 2–3 track playlist for pitching.
- Write concise outreach emails with clear rights info.
- Follow up professionally (and keep pitching new music).
- Network and learn: Attend AIM Sync, follow supervisors, and stay updated.