Embedded Files
Target Audience (Primary Research)
For primary research, I did a few tasks, first - I interviewed local shoe gaze band 'Through Her Eyes' for advice on releasing and promotion in the shoe gaze space - to a local degree, consisting of the founders Lucie Mansell and George Lingard who both are second year students, their FMP being Through Her Eyes - for last year, also releasing an EP. From this I came to the conclusion alongside secondary data to sign up with Distrokid for the release of my music and reach out to others I know who perform similar music - with suggestions of who and what bands.
Secondly, I interviewed the artist/producer 'RichMnkey' on instagram by reaching out and addressing things such as collaboration, licensing and so on - asking for advice, he recommended with promotion to use TikTok - so I want to focus on social media and marketing as I already have a lot of experience in this space owning a clothing website, knowing about algorithms and tags to reach exposure and being familiar with shoe gaze videos on TikTok, Instagram etc. Looking at RichMnkey's tiktok where he had millions of likes, views on his videos, which correlated with his millions of streams on Spotify - I myself finding his music through one of these months ago and becoming a fan.
Thirdly, I created and shared a Google forms survey to my social media, focusing on instagram to my ~1000 followers, as I know many people who I know and am mutual with, are into alternatively driven music as so. I posted this alongside a demo release of one of my songs that I had been working on - after licensing with RichMnkey, I tried focusing on data that could be observable and weighting the opinions of those who had more experience listening to and/or enjoying the genre, using my experience with statistics to make judgement and only leaving one final open ended question for qualitative data rather than all quantitive, using my experience with statistics (7 grade GCSE - Statistics/Further Maths to compile an average in a spreadsheet).
By weighting the opinions of those who listen to shoe gaze often by having their votes be counted for two people (24 people), the results given were:
Quality Rating: 8.7 (1 d.p)
Listenability Rating: 8.9 (1 d.p)
Enjoyment Rating: 9.3 (1 d.p)
(Sum of 10 'Yes Voters' x 2, adding the sum of 4 'No Voters', dividing the new total by 24).
From this - I know the main focal point is quality, which is expected as the genre is very focused on production quality - and the demo was fairly fresh.
This was an aspect that later helped me change the direction of my project, as I had wanted more time to work on the release, as discussed later.
How I will use this - is to prioritise and focus on the independant production aspect of the project - (8.7/10). As well as decide based on votes who my targeted audience will be - observing the amount of people who don't listen to shoe gaze much, to their scores, as to evaluate how much I should focus on my key audience (people who listen to shoegaze) in ratio to people who are my general audience (average listener).
Opening question (decisive); allows me to selectively observe the different answers from those who would most likely be my target audience, and those who would not generally be so. Weighting quantitative data later.
Quantitative data that I will use to compare to 2 and 3, gives me an interpretation on the quality (production, mixing/mastering).
2. Quantitative data that I will use to compare to 1 and 3, gives me an interpretation on the listenability (songwriting, repeatability, ability to work in playlists etc).
2. Quantitative data that I will use to compare to 1 and 2, gives me an interpretation on the enjoyability (songwriting, melodies, general sound, instrumentals being completed well).
Evaluating what has been said, and summarising key details from the qualitative data as seen above - there was only positive reception with some similar themes. The demo tape I had shared is only instrumentally recorded, without the vocals which I am planning to add either at the end of the project or later on. People had mentioned about adding vocals...
Primary research, some further research I had gathered was with my impromptu opportunity whereby I have interviewed the local shoegaze band 'Through Her Eyes' on how they managed their EP, the promotion and release of it, the publishing and how they moved forward into creating an established image and band – all things that are aligned with what I want to get out of this project. Unfortunately, I did not manage to get any evidence of this, however being a second year college band, they gave me very useful insight that I am grateful for...
vivid cut example vrom.mp3...Mentioning the music being similar to Wisp, Zeruel and Quannnic who are all key inspirations for the sound i wanted to achieve - which was successful. I also experimented with production, particularly with some effects in the middle of the song as seen here - which people had liked, potentially planning to experiment with more later!
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Genre Research
Some secondary genre research that I had gathered, had been on the focus of old - traditional shoegaze with the contrast of new - modern shoegaze, using the case studies of My Bloody Valentine and 'Wisp', a majority of shoegaze has been held in the interpretation and analysis of relationship trouble, the complexity of love and loss, including sexuality and societal establishment. However a lot of modern shoegaze - keeps these roots whilst being grungier, darker - illustrating more angst and grit, seen in the aesthetic imagery used from both eras - old shoegaze being articulate of the moving genre - photography effects being used to convey reverb and the shimmer, delays used in production - bands having adrogynous features and styles with plan striped clothing - almost a contradiction to their sound to keep that art/artist seperation. Now, modern shoegaze is darker, grittier - whereby bands and artists use more wispy and ghostly lyrics, heavy bassier drums and distorted instrumentals, even in the artist themselves - having aesthetic choices of angels, crosses, dark grayscale colour choices of black, white, grey and colder hues of blue contrast to old shoegaze bands such as MBV with their warmer chaotic hues of purples, reds, such as in the album 'Loveless' and EP 'Tremolo'. An element of modern shoegaze and it's slamming 'in your face' drums and distorted vocals perfectly contrasts the soft airiness of older shoegaze such as referenced by Ned Raggett here in how he articulates the sound of MBV's 'Isn't Anything': "Here, the shapes of the feedback and the blending of Shields and Butcher’s voices doesn’t suggest rise so much as extremely unsafe floating in space while simultaneously balanced on ice, with muffled drums theoretically a driving force but more a nervous, half-felt heartbeat. One slip and you’re gone, who knows where".
Raggett, N. (2024) Control slips away: My Bloody Valentine’s isn’t anything revisited, The Quietus. Available at: https://thequietus.com/opinion-and-essays/anniversary/my-bloody-valentine-isnt-anything-review/
An adjacent nature of modern shoegaze is that this darker grittier sound is mutual in behaviour and character with genres such as metalcore, nu-metal and so-on...an example of this being 'Wisp' opening for Deftones, Korn etc, whereby Deftones have been stated to have a 'shoegaze' sound particularly nowadays rather than earlier on in their career, as it aligns with the character of modern shoegaze. As referenced by Alex Harris in his article on Wisp "Her current tour schedule—opening for System of a Down, Deftones, and Korn—makes the intimacy of this track even more striking. It’s not a crowd-pleaser. It’s a confrontation disguised as a whisper".
Harris, A. (2025) Wisp get back to me lyrics meaning and interpretation, Neon Music. Available at: https://neonmusic.co.uk/wisp-get-back-to-me-lyrics-meaning-and-interpretation
And as compared to by Joe Boon in his article referenced here "Wisp's music sits more in the Deftones/My Bloody Valentine camp, with lo-fi and atmospheric vocals that are reminiscent of Grouper. The sound is all-consuming, it begs to be turned up to ear-shattering levels".
Boon, J. (2023) Wisp - ‘once then we’ll be free’, When The Horn Blows. Available at: https://whenthehornblows.com/content/2023/11/6/wisp-once-then-well-be-free
Citations:
Boon, J. (2023) Wisp - ‘once then we’ll be free’, When The Horn Blows. Available at: https://whenthehornblows.com/content/2023/11/6/wisp-once-then-well-be-free
Harris, A. (2025) Wisp get back to me lyrics meaning and interpretation, Neon Music. Available at: https://neonmusic.co.uk/wisp-get-back-to-me-lyrics-meaning-and-interpretation
Raggett, N. (2024) Control slips away: My Bloody Valentine’s isn’t anything revisited, The Quietus. Available at: https://thequietus.com/opinion-and-essays/anniversary/my-bloody-valentine-isnt-anything-review/
Zeruel is an inspiration for my darker shoegaze sound and lyricism, an example of how he writes his music is the subtle rhyme schemes used on the refrains of his songs such as in 'Blight' and 'Avalon': 'hell/spell/shell', 'away/fray', 'I/sky/why', 'howl/frown/down'. These all are cut-up in-between non-consecutive verses which create a push/pull affect which is entwined with the rhythm of darker shoegaze with it's slow and heavy drums.
An example of this on my songs are refrains such as what I have currently drafted for my potential lyrics for my EP 'Zeroth' as I am in the process of writing this,
...however before doing so - I want to analyse his song 'Avalon' to breakdown some key elements of not just his own sound but the style and genre itself:
Avalon (Zeruel, 2023):
Lyrics:
The lyrics of the song present a narrative where the speaker (presumably from Zeruel in interpretation) and their beloved share a transcendent connection, ethereal in language. The lyrics explore the complexities of love, yearning for connection and unity, and the self-awareness of an impending finality, all set against a backdrop of cosmic, ambience through the celestial imagery.
"My love you and I
Could consume the night
Become one with the sky"...
The speaker envisions an attachment of love and desperation so immense that it engulfs the night, consuming it and merging themselves with the cosmos, suggesting a desire for unity and transcendence beyond a human connection of basic comprehension.
"As we fall and my faith is recalled
Every part of me thralled by your touch"...
Falling together could symbolize surrender or vulnerability, with the speaker's own faith and intention of trust being reaffirmed through the beloved's touch and grace - a serpahic imagery.
"Why
Is this love I don't know
Could you entrust me your soul" ...
The speaker questions the nature of their love, expressing uncertainty and seeking deeper intimacy by asking for the beloved's soul - yearning closer.
"As we fight fire with sound
I ask, Could you stay for a while?" ...
"Fighting fire with sound" may symbolise using their shared connection to confront the challenges and struggles ahead- the desperation in pleading to "stay for a while" undermines itself in a desire to prolong and hold onto their time together.
"As the wolves begin to howl
And the moon stares back and frowns
This world is crumbling as time counts down
Before the end arrives" ...
These lines finally introduce an inflective darker tone, with natural imagery reflecting turmoil and the inevitable passage of time, suggesting an impending end that is almost inevitable - a =n approach in misery and acceptance within the confounding genre of shoegaz itself in a deep contrast.
Structure:
Intro: Instrumental build-up from feedback, establishing the sombre nature of the song -. Chorus: Introduction of the main lyrical themes which pursue - hitting itself immediately in the listeners face with the chorus of bassy smashing drums. The emotional peak heightened with a focus on the central narrative and lyricism of the song. Post-Chorus: A fall and reinforcement of the themes. Chorus: Reiteration of the central theme and emotional peak before the fall. Outro: The fall being an instrumental fade-out, with audio trailing to leave that lingering sense it invokes in the listener - a core element of a lot of darker shoegaze.
This atypical song structure is seen in some shoegaze, particularly darker, heavier shoegaze whereby it focuses on emotional crescendos and introspective moments, suspense and release etc - it immediately drops you in and captures you from a soulful perspective.
Instrumentation:
Guitar: Layered textures - a prominent aspect in most shoegaze, is illustrated by Zeruel - here in Avalon by layering multiple tracks to create an immersive wall of sound. Effects pedals are also used - either pre-production or post whereby there is extensive usage of both reverb and delay - most likely with VSTs similar to what I use such as, Valhalla Supermassive etc. The underlying chords are Cmaj7/Dmaj7/Esus2 and Gsus2, ending on Ma7 which in contrasts creates a halted sound almost resented and creating that ethereal sound which pulls you in.
Drums: 4/4 time signature - with a standard of ambience created using effects such as reverb. There is subtle dynamics which are embedded within the entirety of the track - allowing for room and space in the vocals and guitar whilst also filling in any space whereby they are pulled back.
Additional: A key element particularly in darker shoegaze as seen here, is field recordings, synthesisers and any FX with modulation, delay and reverb - not as seen here but also phasers etc...all amplifying the spacious ambience of the song and it's created atmosphere.
'Avalon' exemplifies the dark shoegaze sound, particularly Zeruel's interpretation of it through the use of layered guitars, subtle - yet dynamic drumming, ambient vocals, and atmospheric effects, prioritising mood and texture in the song itself, and creating an immersive auditory experience that invites introspection and emotional engagement within the angsty yet ethereal atmosphere it creates.
Tonality:
The song is set in major in the key of G which initially I had not expected with the usual themes and associations with major key and darker more grittier shoegaze. However it is really the reverb soaked and dynamic drums and heaviness of the instrumentals which create that wallowing angst, the major key really creates this hauntingly beautiful dynamic between the two, an intricit element of Zeruel's sound.
(Song one) lyric extract:
(Colour-coded rhyme scheme):
Endlessly
I can't, breathe
Take my hand
And let us bleed ('sleep' final verse)
Here we lay
Beneath the stars
Beneath the sky
And just -
Apart
Crimson felt
Touches my skin
Cold and wet
Seeping -
Within
...
Marcus, K. (2021) Blade Runner 2049: Film analysis: Sweet and Sour Movies. Available at: https://www.sweetandsourmovies.com/the-surprising-news-page/2021/2/15/blade-runner-2049-film-analysis
As I write and am avidly into literature, I wanted to have this rhyme scheme be entwined with the imagery and aesthetic that makes dark shoe gaze 'dark'. Usually it has substantial fantastical imagery paralleled with a raw sense of emotion, whether it's dread, sorrow or just angst.
From this I created a draft just by setting a narrative, bleeding out with your significant other out in the open, such as a hill, bleeding out beneath the sky and stars and working from there - inspired by the location of the Didgori Battle Memorial in Georgia and the final scene of Blade Runner 2049 - both of their imagery aligned with a lot of modern and dark shoegaze and the movies cyberpunk aspect and themes, being my favourite genre and one of my favourite movies as a film and cyberpunk buff. Using tactile imagery such as 'felt', 'skin', 'wet', 'seeping' to create this dreadful and raw tonality you find in songs by other artists such as Zeruel, Wisp etc. Having fun with wordplay such as 'crimson felt' being crimson fabric, blood-stained fabric, or blood touching. Furthermore wanting to explore this conceptuality of what it means to be human and the visceral nature of love and death embracing - inspired by lyricism of Ville Valo - one of my favourite singers and songwriters.
FX Mixing - one of the most quintessential elements to creating the ambient sound of shoegaze is to use reverb and delay on instrumentals and vocals - in research I have found a few free vsts that are expansive and used for effects such as reverb and delay, experimenting - my favourite being valhalla supermassive reverb, that I am planning on using for a most part on my songs along with any other VST plug-ins and space designer by Logic. Along with understanding the fundamentals of manipulating the sounds of my vocals and any instrumentation with FX such as phasers, mapping out how I want to achieve certain sounds, inspired also by vocal manipulation by big producers such as Skrillex in other genres, as seen here with 'Where U Now' by Justin Bieber, wanting to incorporate something similar with vocals and/or guitar (seen 5:40).
Citations:
Boon, J. (2023) Wisp - ‘once then we’ll be free’, When The Horn Blows. Available at: https://whenthehornblows.com/content/2023/11/6/wisp-once-then-well-be-free
Harris, A. (2025) Wisp get back to me lyrics meaning and interpretation, Neon Music. Available at: https://neonmusic.co.uk/wisp-get-back-to-me-lyrics-meaning-and-interpretation
Marcus, K. (2021) Blade Runner 2049: Film analysis: Sweet and Sour Movies. Available at: https://www.sweetandsourmovies.com/the-surprising-news-page/2021/2/15/blade-runner-2049-film-analysis
Raggett, N. (2024) Control slips away: My Bloody Valentine’s isn’t anything revisited, The Quietus. Available at: https://thequietus.com/opinion-and-essays/anniversary/my-bloody-valentine-isnt-anything-review/
Resources and Techniques (Equipment)
All recorded into the DAW that is connected to my apple M1 air, that I use to bring with me and record with, as it is lightweight, bringing it with me to college to record demo melodies alongside my orignal track, choosing what I think works the best and later developing it further at home. Running my guitar through a clean plug-in, keeping a neutral sound and using the EQ on logic to adjust whilst also using the VST of Valhalla Supermassive alongside my Line 6 Helix Floor that I have been using for guitar and bass tones alongside experimentation with vocals.
Vocal techniques I learnt and now use are vocal warmups such as scales and going from low - high - low back and forth to improve control and range, with lip trills and SOVT exercises to strengthen muscles and regulate health as someone who has no singing experience prior to the FMP.
KeyStation 49 MK3 MIDI keyboard with logic pro fx and presets. Recording: Logic Pro, as I have some training in it and have the most experience with, plug-ins such as Valhalla DSP (particularly Supermassive Reverb and Delay, for capturing that expansive shoegaze sound) and MPlugins including particularly MAutoPitch by MeldaProduction for vocals...
The resources that I used for developing my FMP involved: Instrumentation: guitar - ibanez rg421hpfm, allowing for split coil sounds between a smoother neck single coil sound pickup and switching to a double humbucker sound bridge for playing more grungy and heavier sounds as shoe gaze can alternate between the two a lot.
As there is a lot of range this is also useful as it is 24 frets - it's a high performance model, and my signature guitar that I use myself and have a lot of experience with, as for any advanced techniques like sweep picking and multi-finger tapping, hybrid picking styles that I may want to apply for this project - an element to stand out in the genre space in comparison to other artists...
For interfaces, I used a Scarlett Solo (3rd Gen) as it is relatively cheap and whilst a budget option for recording - an industry standard for independent artists, particularly starting out, with many successful songs and artists using them in 2025...
For headphones I choose to use the Sony MDR 7506's as they have been proven to have a very flat and neutral sound signature, having a flat frequency curve, letting me adjust EQ to an accurate level for listening whilst keeping the bass higher but slightly rolled back for the songs, as some people may listen with headphones heavier in the lower end which is more common in listening headphones.
Pre-Production (Planning/Skills Preparation)
Pre-production I had went on instagram and contacted the producer/artist 'Richmnkey' - who specialises in creating shoegaze beats, amassing songs with millions of streams - averaging around 100k monthly spotify listeners with collabs from other bigger artists and professional producers such as 'Nextime' - I had already listened to both artists so I thought it would be worth contacting Richmnkey for collaboration - whereby I leased a professional music license for two of his beats he had produced and I planned to do vocals for + guitar + post-production mixing and mastering of the track he already mixed/mastered to my own liking to make that darker - ambient sound I was going for - such as artists like 'Zeruel' but with my own style with more dynamics, plosivity and instrumentation.
Richmnkey agreed to the non-exclusive license whereby I got the rights for: 1 music video, 2000 physical copies, for profit live performances, 500,000 online streams, radio broadcasting on 2 stations. For each individual song - understanding the need for negotiation if breached and Richmnkey wants arrangements - the license being held up to 10 years...
As partially seen in documentation on the left, along with our messages - planning to split royalties on the two songs on the EP at a 20% cut privately due to the upfront purchasing of two songs licenses and collaboration effort:
Some preperation in skills has been the process of me learning how to improve my singing - never singing much before, even in my own comfort. So the start has been nearly entirely fresh for me. I have clear relative pitch so finding notes and reaching them has been comfortable - as I have just over a two octave range currently at (), this works particularly well with the genres I am going to be singing over, being shoegaze/metalcore/post-hardcore. The primary extraneous activity being scream vocals - naturally having learnt how to fry scream well developing my ambient black metal track earlier on the production tasks before FMP and moving into it - having to now learn how to control and accentuate that more emo and post-hardcore vocal technique moreso and how to articulate words clearer screaming.
In preparation for this I have been doing vocal exercises daily and doing vocal scales and slides, including lip trills to accelerate my ability within the short timeframe I have, being about 4 weeks to the point of having to finally record vocals. I feel confident in my production skills to help pickup anything lacking particularly with shoegaze, however will have to improve this for if I do any live performances, particularly thinking about the college gig at Bomba on the 14th of May or another performance potentially later in another setting.
Whilst not a production skill - this helped with my practical skill of singing in which, I wanted to both improve and apply (overlapping as a practical skill + preparation):
Academy, J.V. (2019) Daily Singing Exercises For An Awesome Voice, YouTube. Available at: https://youtu.be/ZAx0UF_k2hM?si=bN9-KDIZaavwSXCy
Citations:
Academy, J.V. (2019) Daily Singing Exercises For An Awesome Voice, YouTube. Available at: https://youtu.be/ZAx0UF_k2hM?si=bN9-KDIZaavwSXCy
Production (Practical Skills)
Secondary Research - In genre research in achieving that deftones-esque shoegaze sound - particularly focusing on how to mix/record vocals for that grittier darker sound I used this citation on how to create that sound in Logic - also being production research, particularly on how to create she sound I want in the genre, inspired heavily by the 'Deftones'.
Wainwright, R. (2024) How To Make Heavy Shoegaze/NuGaze | Deftones x Loathe, YouTube. Available at: https://youtu.be/k2N2UrsGKRs
This second citation being more insightful in general production knowledge, helping me understand the process more clearer with topics not taught in college lessons - as I do not have much professional experience with handling DAWS...especially for creating music that I aim for high standards with, quality wise - reflecting on advice given in primary research...
Wynne, M. (2024) 10 Years of Mixing Advice in 10 Minutes, YouTube. Available at: https://www.youtube.com/watch?v=oY079oVS3Nc
For genre specific advice - this video is underrated for how simply it explains the crafting process of basic shoegaze, which helped me grasp an understanding on where I should move towards in experimentation of my mixing process:
Labs, B. (2024) Crafting a Shoegaze song, YouTube. Available at: https://youtu.be/uVXZbggdgkg?si=W3b5bFJJ8Bd8qSZI
Whilst not a production skill - this helped with my practical skill of singing in which, I wanted to both improve and apply (overlapping as a practical skill + preparation):
Academy, J.V. (2019) Daily Singing Exercises For An Awesome Voice, YouTube. Available at: https://youtu.be/ZAx0UF_k2hM?si=bN9-KDIZaavwSXCy
Citations:
Labs, B. (2024) Crafting a Shoegaze song, YouTube. Available at: https://youtu.be/uVXZbggdgkg?si=W3b5bFJJ8Bd8qSZI
Wainwright, R. (2024) How To Make Heavy Shoegaze/NuGaze | Deftones x Loathe, YouTube. Available at: https://youtu.be/k2N2UrsGKRs
Wynne, M. (2024) 10 Years of Mixing Advice in 10 Minutes, YouTube. Available at: https://www.youtube.com/watch?v=oY079oVS3Nc
Academy, J.V. (2019) Daily Singing Exercises For An Awesome Voice, YouTube. Available at: https://youtu.be/ZAx0UF_k2hM?si=bN9-KDIZaavwSXCy
Post-Production
For publishing my music, I researched online for accessible and reliable publishers for independent artists on Spotify and so on - finding this article I used to come to my decision in choosing Distrokid as my publisher - as many of the issues brought up don't apply to me as a new individual artist.
Choosing a musicians+ plan as it felt suited for my needs not just now but in the next 12 months as an artist - with access to stats and monitoring purposes, along with not being limited to one artist account for future endeavours.
Richard Pryn (2025) Distrokid Review: An honest take from an indie musician, Richard Pryn. Available at: https://richardpryn.com/distrokid-review-an-honest-take-from-an-indie-musician/
For my songs - as there has been a change in plan with the continuity of how I will release - I am not currently focused on creating an independent cover as I will be releasing the songs as demos, most likely with a cover from some media associated with the genre.
Whilst it is not definite - my demo tracks will be named, as I have a few names already selected, being: Zeroth (immediately preceding what is regarded as first in a series), Seraphic Ashes (the ashes of angels (seraphaphic-seraphim), Luminous Decay, and finally Divine Error Code - which I want to reserve for another song in the future, that I have plans for, merging elements of 'Breakcore' and 'Shoegaze'/'Screamo'.
Marketing and Promotion is essential post-production, as I do have aspirations to grow my identity as an artist outside of just a local scene, particularly with this genre of music as it is gaining demand particularly through social media outlets in tiktok, instagram etc. Learning how to market a release, using social media as an artist, as well as promotional advice on how to receive streams successfully - researching with knowledge from a professional (Jesse Cannon - a producer & marketing strategist from New York, working with bands such as: The Cure, Animal Collective, The Misfits, The Dillinger Escape Plan, Limp Bizkit, Man Overboard, Somos, Basement etc...) that will help me with reaching out to potential listeners. Particularly as I do not have prior experience, however I do have experience in selling online and understanding how to best make use of algorithms and trends to market, as mentioned in my proposal creating my own retail site, advertising on platforms such as Instagram, Tiktok, Pinterest etc. Stepping away from this video, gaining an understanding on the general consensus of what pulls people in and what maintains a fan/listener base.
Breaking it down:
Jesse Cannon specified the foundation of any successful music career is the creation of high-quality music itself - highlighting the general importance of producing tracks that meet industry standard in: songwriting, production, and overall listenability - quality. This ensures that the music resonates with listeners and stands out in a competitive market, an aspect I know is crucial in music as an industry which can be argued to be over-saturated with supply than demand.
As there is an immense amount of accessibility to music in this generation, establishing a stable online presence is crucial, particularly with identity. Cannon illustrates the significance of leveraging social media platforms to connect with fans, share content, and build a community - all aspects that are necessary along with the process of engagement and fostering that trust and connection between both the fan an d the artist - this can be done with live sessions, Q&A's and personalised messages, engaging shows etc. Which I as someone who goes to a lot of local music events and venues in and around Devon, Bristol - understand.
In the video he discusses the strategic use of streaming platforms such as spotify, soundcloud etc, to distribute music and reach a more expansive audience - optimising profiles, engaging with listeners, and utilising platform-specific features - musicians can enhance their visibility and develop growth and opportunity for their fan/listener base.
Cannon, J. (2024) How Musicians Go From 0 To 1,000,000 Fans In 2025, YouTube. Available at: https://www.youtube.com/watch?v=ToQKJRERXcc&t=1125s
Another aspect in post-production had been as mentioned earlier with my experience with 'RichMnkey', who I had collaborated with, as well as in leasing a beat whereby he came to a binding decision to keep his royalty cut pulled back to 20% across each track as he would be on two tracks rather than one, crediting him on the feature of both songs for when they get released professionally at a later time. All discussed in the 'Pre-Production section'.
Citations:
Richard Pryn (2025) Distrokid Review: An honest take from an indie musician, Richard Pryn. Available at: https://richardpryn.com/distrokid-review-an-honest-take-from-an-indie-musician/
Cannon, J. (2024) How Musicians Go From 0 To 1,000,000 Fans In 2025, YouTube. Available at: https://www.youtube.com/watch?v=ToQKJRERXcc&t=1125s
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