The Music Industry Is Broken: 10 Reasons Why Artist Development Is Over—And What You Can Do If You’re An Artist

Warning: This post on songwriter development will rub a lot of people the wrong way.

That’s OK. If you’re an artist and this resonates with you, and take the points of this article to heart—it might cause a massive career mindset shift to your benefit.

For those thinking, “Songwriter development? No, bro, I got this—thanks anyway,” that’s cool too. Bye-eee!

My theory: TODAY is the biggest opportunity for songwriters and artists—but only for a select few who focus relentlessly on songwriter development. Why? I’ll explain.

This is mainly for artists and songwriters to integrate these crucial elements into their process.

On top of this, for those working “on the other side of the desk” as executives or managers, this is an opportunity to apply this to your clients.

Time is precious, and artists and songwriters trying to make it need to understand today’s reality and the importance of an artist development program.

And I’m saying this as someone who’s actually doing the deals, writing the checks, and running the royalty statements (I still personally oversee and run the statements with my team, so I can get all the early insights, trends, and data).

Here’s what I’m seeing and forecasting. There’s a silent crisis taking shape—and it’s happening now.

But first, the following is background and context for this article:

a) About 1 million songs are released weekly (likely to double, triple, quadruple, and more—soon with AI). How will your song and art stand out in that crowded space?

That’s right. I’m predicting that by 2030, we might have upward of 3 million to 5 million new music releases globally per week.

Keep in mind that number used to be 70,000 per year, twenty to thirty years ago.

b) We all (myself included) don’t know what we don’t know.

If we all can roll with that premise, let’s dive in. I’ll outline the problems surrounding songwriter development and then possible solutions.

I also fully acknowledge that this post may not apply to you at all as a DIY or indie artist, because you have a dedicated fan base—you’re doing all the right things that work, you’ve found your niche, have a great live following, etc. Bravo!

But that’s only about 2.5% of artists that release music.

Lastly, if this sounds like it’s coming from an older, jaded music business executive who “just wants things to go back to the way they were,” well, I’m not going to argue with that.

LOL. But much like yourselves, I’m proverbially also “in the trenches” with you on all of this.

I have to figure this out as well.

So, as my favorite poet “Chinaski” said, “Let’s work out.”

The Unfolding Crisis—Happening Now

Here’s what’s going on. As someone actively signing artists and writers with my own money, developing talent, analyzing future signings and royalty streams, running royalty statements, and issuing royalty checks, I see a HUGE widening amount of “mediocre,” “acceptably good” to “good +” and “almost great” releases—and a rapidly shrinking amount of truly exceptional writers and artists creating either “true hits” or what I call perennial songs (those non-charting tracks that quietly amass 100 million, 250 million Spotify streams each).

To me, the artists and songwriters who can consistently achieve that level of incredible work—they will continue to own the world.

There’s just too much winning! It looks like “blue sky territory” for creatives who know what a hit is, are capable of and willing to put in the extra work (see my theory on 10% = 165X here), can actually write a hit (more on that later), display signals of excellence, dare to be truly exceptional, and thus rise above today’s “song/artist landfill.”

So, if you’re with me on this, and if you’re feeling like new music is mostly “whatever” these days, along with artist development in the toilet—let’s take a look for reasons why this is happening.

Reason #1: The DSP Song and Artist Landfill—A Songwriter Development Wake-Up Call

That’s right. I said it.

Back when SXSW (the South by Southwest Music Festival in Austin) mattered, all the “cool” A&R execs chased bands and artists.

I actually kept track of those buzz bands, and guess what?

A year later, most of those acts ended up in what we called the “indie landfill.”

Artists had trendy buzz for a moment, labels threw ridiculous deals at them, and twelve months later—nobody cared.

Sound familiar?

Decades ago, the industry would joke about the “indie landfill” and which buzz band would land there.

But today, it’s worse—98% of artists are releasing literally garbage.

(Sorry!)

There’s a never-ending line of dump trucks adding to this landfill.

Doubt me?

Consider this: The Billboard Hot 100, over eighty years old, is now at its most stagnant (i.e., not moving) in history!

Why? Are the top ten songs so good that tracks #11–100 can’t break through?

Or are songs #11–100 simply not good enough? I believe it’s the latter.

My point is that we’re having fewer and fewer “real” hits and real breakthrough artists being released to the marketplace.

Artist and songwriter development is in crisis, and a renewed focus on songwriter development is essential to reversing this trend.

This open letter is for artists, managers, and songwriters to embrace this reality.

It’s also a summary of what I need aligned with current and new artists I’m working with.

One thing I’ll talk about later, and also flag that this is extremely important, is that most artists are unfortunately working in their own vacuum.

In other words, there’s no quality control to the creative process and end product—with little to no creative guidance or objectivity to help guide.

As a metaphor, this would be akin to an aspiring gold medal Olympian looking to get the gold without a coach.

You’re looking to do the impossible, just like that Olympian.

How many of those athletes and champions get there without a coach?

This “working in a vacuum” process, without strategic songwriter development, leads to what I call the “DSP glass ceiling.”

Reason #2: The 1 Million–10 Million Streaming “Glass Ceiling”

Even with a strong social media following and a core audience, many artists hit the 1 million–10 million Spotify streams “glass ceiling.”

I see artists with great fan bases, solid live shows, good management, cool PR, and strong (or even ridiculous) social numbers and followers—but they’re stuck and can’t break through.

Why?

Here’s an idea: How about releasing a “real hit?”

Ouch.

I mean, let me ask you a legitimate question: “Do you know what a hit is?”

Everyone reading this article is saying, “Yes, of course I do.”

OK—then why aren’t you writing them, with those empirical results showing up for you?

Really.

Here’s what’s happening across the music industry, in my observation.

Fans (and algorithms) will engage with your new music releases for three to six months after the release, then they’ll move on to the next shiny object.

Shortly after release—just…no one cares. Why? Because look—your songs just aren’t that great.

And not by today’s standards—we’re talking about measuring against the greatest songs of all time.

That’s the bar, that’s your competition…not just whatever’s trending on a “new music” playlist.

Most songs today are just “pretty good.” And unfortunately, most artists often don’t realize they’re stuck in a downward spiral:

• The quality of their songs parallels their other contemporaries’ and today’s playlists, which are mostly also mediocre. What a songwriter or artist thinks is a “9” might actually be a “5.5” compared with the best songs of past decades.
• Most artists are surrounded by “yes” people—managers, co-writers, labels, publicists—who say “It’s a hit!” far too often to protect their job security. Challenging an artist’s work risks getting fired—so why rock the boat.
• Artists must also excel in multimedia, which takes a moral toll after releasing song after song that only tops out at 5 million, 500,000, or 50,000 Spotify streams.

So, how long can that go on before the artist, their team, or the DSPs themselves give up on them and allocate those slots to someone else?

Reason #3: The 99% Streaming Collapse (a.k.a., the Artist Who Goes from 100 Million Streams on a Song to 1 Million Streams)

This happens ALL the time.

Let’s say you’re an artist and you have had one song that really went viral, lightning struck, and you have 50 million, even 100 million+ streams on a track, but your other releases are stuck in the 1–10 million range (or less).

The DSPs (Spotify, Apple, etc.) are littered with these types of artists.

In fact, you might be one of those reading this article.

But if it’s helpful to know, it’s actually pretty common.

And if you keep reading, I have some solutions to check out.

To put it another way, the 2020s might well be the “Age of One-Hit Wonders”—except, oh wait, they weren’t actually hits.

Yes, we’re talking about “Age of the One-Internet-Hit Wonders.”

If this resonates, then you’ll agree with me that the above is the wrong direction!

Those artists’ streams and monthly listeners are in gradual decline (according to Chartmetric) or literally collapsing.

But their and your efforts remain the same—or you’re even working harder! So, why is this happening?

Did you just suddenly “suck” overnight?

I’m writing this to identify these obstacles honestly, because only then can we develop a plan to overcome them.

Let’s further explore the key challenges in today’s artist landscape.

Reason #4: Lack of A&R (Better Word: “Coaching”) and Willingness to Receive Feedback, Consider Outside Material, and Take Action in Songwriter Development

Actually, this should be the #1 reason why things are in crisis.

I’ve touched on this throughout, but let’s get specific. Most artists today are working in a vacuum without (or resisting) feedback or “creative notes” on their material.

While some thrive without it, for most, this is why careers plateau or fail.

Let me ask you.

Can your right hand touch your right elbow? No, it can’t.

The metaphor: Most artists (like most people, including myself) lack true objectivity about themselves.

Here’s a revelation I’ve had after thirty years: Many artists and songwriters simply don’t know what a hit or “perennial song” is.

Wait—of course you know what a hit is, right? Then, as I asked before, why aren’t you writing them?

To release your best work and rise above the “DSP landfill,” you might need to co-write, rewrite endlessly, or even—gasp—record someone else’s song.

What’s missing is the A&R process—trusted feedback, songwriter development, and scouring the globe for the best songs and the right manager or A&R or executive producer to do it with.

In fact, you’d think publishers’ phones would ring nonstop from A&Rs seeking hits for their artists, but today, A&R rarely works this way—except in K-pop, which is why it’s winning.

I simply can’t keep up with the brief and email requests coming in.

Also, consider Frank Sinatra.

He demanded the BEST SONGS, with his A&R team scouring the globe. That’s why Sinatra became an icon.

Or Michael Jackson: His A&R team and Quincy Jones would sift through thousands of demos to find a few smash hits.

As an artist, your job isn’t just the “A” in A&R (artist) but also the “R” (repertoire or song choice).

You might have a Ferrari engine, but without the right fuel—or any fuel—you’re stuck in the slow lane.

Here’s the takeaway: You don’t have to do everything yourself. Consider co-writing. Rewriting until you have things perfect.

Record covers or interpolate songs to fit your lane. Even Barry Manilow didn’t write his #1 hit “I Write the Songs” (Bruce Johnston did).

Patti Smith’s “Because the Night” was written by Bruce Springsteen. And Prince wrote Sinead O’Connor’s classic “Nothing Compares 2 U.”

These artists tapped into rocket fuel—a.k.a., hit songs.

If you’re a mainstream artist, A&R, or manager, this is on you too.

When was the last time you met publishers and songwriters in L.A., Nashville, London, or Stockholm to find hits, fresh collaborators, or the next Grammy-bound writer?

The best songs and co-writers are the rocket fuel for long-term growth and lasting copyrights, and they’re often the result of intentional songwriter development and collaboration.

This is what USED to happen. Consequently, the best long-term music—and real hits—was created and released.

Here’s a visual of what this probably looks like:

This is the #1 opportunity for artists—and few are doing it.

For those who embrace it, the potential is enormous.

Reason #5: The Power Is in the Hands of the Artist—But So Is Songwriter Development

This ties into the previous points.

It’s an incredible time when, with a cheap laptop, an interface, a microphone, and an iPhone, anyone (like literally anyone) can create music or video content and release it worldwide at minimal to zero cost.

Artists no longer “report” to anyone—they can do whatever they want.

Mid-tier artists are earning $50,000–$250,000+ annually this way, which by the way is totally amazing.

However, a quick history lesson: Twenty to thirty years ago, making a record was expensive—easily $100,000 minimally in 1980s or 1990s dollars.

Recording required real studios, musicians, producers, and engineers, making record labels essential. Labels invested in artists and their music with the goal of recouping their investment many times over, which meant A&R teams carefully vetted artists, songs, and producers to ensure success.

Today, that process is largely gone. A&Rs, labels, and publishers often receive completed records from artists, who control their social media platforms and tell labels, “I’m releasing this.”

A&R has devolved into data analysis and signing business plans that appear to be working, then throwing gasoline on the fire.

But if the fire fizzles out, there’s no fuel left to burn—and without songwriter development, reigniting it is even harder.

And those people can’t help if artists deliver the final product without their creative team’s input.

This lack of A&R oversight has led to artists, especially those with social media followings built on nonmusical content, skipping critical feedback, insight, guidance, and collaboration.

Many believe, “I don’t need opinions—my last song streamed millions; the success will continue.”

But as I mentioned at the top of this article, we all don’t know what we don’t know.

Let’s use a metaphor: A person dreams of building a house but tries to do it all themselves, from pouring the foundation to electrical work.

Disaster is inevitable. Instead, the way to build a house is to hire specialists and a general contractor (akin to a manager) to oversee the process.

Yet many artists try to build their careers without seeking guidance, critical feedback, or collaboration with A&R, managers, publishers, and outside sources (including songs).

Here’s the truth: None of history’s biggest artists succeeded without those people in their corner.

Icons like Michael Jackson or Whitney had A&Rs and producers like Quincy Jones or Clive Davis who were also “coaches.”

Gold-medal Olympians don’t achieve their dreams without great coaches. So, why should music be any different?

And trust me—this is not a post about artist control. At all. I am all for artist control. This article is about illuminating the value of having the right team to give you the most control over achieving your guaranteed success and long-lasting career.

The question is: Are you coachable? Do you seek objective feedback (good and bad), embrace what you don’t know, and work with people who can illuminate blind spots and elevate your artistry?

Personally, I’ve had at least one business coach for the last ten years, because I want results and honest feedback.

I often don’t like what they have to say, because it’s putting the spotlight on failures or weaknesses.

But that type of mentoring also comes with answers. AND YOU WANT THAT.

The right mentors can shave years off your path to excellence.

That’s why I’m such a believer in coaching.

(On that note, I think “coaching” is the future of the music business, and I’ve started to offer personal and group coaching to artists and songwriters—I know personally for myself and working with some of the best coaches out there [Dan Sullivan, Tony Robbins, Nick Cownie] it’s transformative. More information is here.)

It’s your responsibility to find and seek out those people—to have your own gurus that pull that next level of excellence from you.

You need to find your Pai Mei, Yoda, or Mr. Miyagi for career growth.

Otherwise, you risk staying in a vacuum, wondering why you’re not breaking through.

Coachability is a key trait I look for when signing clients, especially those committed to deep songwriter development.

As Dan Sullivan says, “I can’t coach the uncoachable.”

Reason #6: The Reality of Marketing, Perseverance, and Grit in Songwriter Development

Being an artist is hard—really hard.

This journey will look different for everyone, but if you’re just starting out or gaining momentum, it could take years to see traction or recognition for your efforts.

That’s reality.

The good news: Momentum fuels more momentum, making the process easier—still hard, but easier.

The question for new artists is, will you grind for years or even a decade to make this happen?

Or will you give up, letting life’s realities catch up with you and intervene?

Having worked with hundreds of artists, sometimes I’ve realized, “Damn, I think I want this more for them than they do!”

And that just doesn’t work. In fact, recently, I likely lost a deal suggesting an artist’s barometer should be at least 100 TikToks per single release.

This shocked them, as many artists still think one label, marketing firm, or influencer will “flip the switch” for them.

But success requires the artist to be all in.

Today’s marketing has three pillars:

1. The Song(s): Your best marketing tool. The right song should sell itself—word of mouth and algorithms are your allies. Great music, repeated listening, and sharing will be rewarded by algorithms. A real hit will trump all marketing plans.
2. Artist-Driven Marketing: Forget EDM; this is ADM—Artist-Driven Marketing powered by songwriter development and creative grit. As Ryan Holiday notes in his amazing book, Perennial Seller, the time spent creating your art should equal the time spent marketing it—with creativity, passion, and grit—by you, not a firm.
3. The Live Show: Streams are great, but many TikTok artists can’t sell 50 tickets in major cities, partially due to a lack of songwriter development that connects music to audience impact.

If live shows are your thing, they captivate audiences, drive word of mouth, and boost merch sales.

Are you prepared to put in this effort, or will you chase an easier path like crypto or drop shipping?

Dean Graziosi offers a valuable mindset flip: Marketing isn’t lame—it’s serving your audience.

You have the power to elevate someone’s world. Think of it as offering value and excellence authentically.

Too often, amazing music is made but left unpromoted because the artist moves on to the next song or claims, “marketing isn’t my thing.”

That mindset must shift, or it becomes yet another challenge in artist development.

Reason #7: The Live Show

You’re an artist, and there isn’t one—or the live show isn’t consistent. What?

Hi, I’m Mr. Talk Show Cringe

If you lack a consistent, electrifying live show, that’s a major obstacle.

And I’m not buying the “we need tour support” excuse.

The live side is where you gain true fans—not just TikTok viewers drawn to a sound clip or challenge.

This is your chance to showcase your songs, authenticity, and identity as an artist.

Even with just ten people in the venue, you have an opportunity to win them over.

Most of the artists I’m pitching now have more happening with their live shows than their social presence (yet they also prioritize songwriter development behind the scenes).

Their live performances are unmissable.

And if you’re a solo artist, I’m not buying the “I don’t have a band” excuse either.

If you’re a solo artist and can’t captivate an audience with a playback track and a microphone, rethink your approach.

Figure it out and grow from there. Case in point: See Peaches and the documentary The Teaches of Peaches.

Peaches had the best one-person show of all time.

Create a stunning live show and avoid the pitfalls I outline in “Why Your Live Show Sucks Pt. 1.”

Reason #8: Managers Can Get Fired at Any Time

Managers (and lawyers) usually work on an “at will” arrangement, meaning an artist can fire them at any time with, “Thank you, but I’m going in a different direction.”

Now, how likely is it that most managers will risk saying, “You can do better” or “This isn’t a hit” instead of being a “yes” person to keep their job?

You already know the answer.

It’s rare to hear, “No, this isn’t good enough,” or “You’re making a mistake with this song selection.”

That’s not saying that they’re right either. I’m saying that most people will not risk saying their real thoughts.

As a music artist, seek out people who will be brutally honest with you.

Make them your North Star, guiding your vision and tracking your progress.

Think of them as the CEO of quality control—your trusted guide in both music strategy and songwriter development.

To put it another way: Your right hand can’t touch your right elbow.

Surround yourself with people who see your blind spots, point them out, and offer solutions.

This doesn’t mean being beholden to someone stifling your creativity. Quite the opposite. Not every song needs exhaustive A&R treatment; some are meant to be personal or artistic. But for hit singles or perennial songs, a team offering top-tier A&R or coaching is invaluable.

Reason #9: Artists and Songwriters Lack a Songwriting Vocabulary and Songwriter Development Curriculum

This might strike a nerve, but it’s crucial to address as part of the widespread lack of songwriter development in today’s industry.

And really, this should be much further up the list.

Many artists and songwriters have a limited songwriting vocabulary and lack knowledge of iconic songs, catalogs, and movements.

If you’re in a younger age group, anything pre-2000 is likely not in your “schema”—the internal resources that shape your creative resources and song knowledge.

A song you or your fans rate as a “9” might actually be a 5.5 to others. Why?

Because today’s artists often fail to “stand on the shoulders of giants” and further have dissected what makes those songs tick…and then model them.

Historically, great songwriters—like The Beatles—built their foundations by mastering decades of music through cover and wedding bands and knowing the history of the music that has come before them.

Today, that foundation is often missing.

@oobujoobu Paul McCartney talks about how The Beatles grew as musicians and entertainers during their residency in Hamburg, Germany. #paulmccartney #johnlennon #georgeharrison #petebest #stusutcliffe #hamburg #germany #starclub #theindra #toptenclub #horstfascher #machshau #oobujoobu ♬ original sound – Oobu Joobu

Instead, many approach songwriting as a numbers game, hopping from session to session, hoping for a hit to materialize.

It’s like the metaphor: 100 monkeys in a room for 100 years might eventually produce Shakespeare.

And I do think there is truth to the “numbers game” idea. However, it’s in the opposite direction you’d think.

I’d much rather sign a writer or artist who’s actually writing less yet instead studying and modeling the great songs that have come before them.

Most artists don’t improve their songwriting vocabulary. Fingers and vocal cords “don’t know” how to explore new territory without the right training.

Often, artists begin and end the year as the same person creatively.

That’s why you need a curriculum to learn iconic songs—not just recent hits.

Don’t stop at listening to a “Best of the 1970s” playlist. Intently learn, dissect, and model songs from past greats.

Here’s some to get you started.

For more on expanding your songwriting vocabulary, read my article “The Songwriting Vocabulary Expander.”

You can also explore my course The Hit Songwriter Accelerator, which covers five hours of essential topics.

Reason #10: Consistency (Releasing Music + Socials) Is Key to Songwriter Development

Let me ask you: Which artist is Apple or Spotify more likely to spotlight on a “Best of the Week” playlist—the one releasing two songs a year or the one consistently dropping music every four to six weeks?

Everything I’ve covered boils down to repeating the process with high-quality output, unwavering consistency, and an intentional songwriter development mindset: always writing, recording, releasing, touring, and staying active on socials.

Here’s a hint about labels, publishers, and executives: Their first step when evaluating new artists and potential signings is checking socials and the DSPs.

They look for activity, originality, creativity—a vibrant “digital voice” on Instagram, TikTok, YouTube, etc., and artists that are doing it consistently!

This is your job today. If it’s there, great. Sold.

If not (and especially if there’s not a robust live show and following), why should we put our resources and marketing into you if you’re not putting resources and marketing into yourself?

You need both the songs and the mindset for marketing and promotion.

Think of it like this: If I had to prove to a jury that you embody what an artist is today, would it be a “hell yeah” or a “nah?”

@benjamin.groff The first decision you make in the writing session—what to focus on—makes all the difference. In fact, it’s a clear vote not just for the output of the song but for your future. Let me say this another way. That song start idea, which you decide to jump on today, will be congruent with what you believe your future self is worthy of receiving. So, make sure it counts. Remember, it’s you and your collective co-writers who are choosing this. And if you’re a producer—this also means creating a production for the song (which could take a week of your time). Is this song start idea really worthy of your future? It’s a philosophy that’s shifted my approach—and I’d certainly use it at the start of all your sessions—and then even set a time for 30 minutes to 1 hour to recalibrate. “Is what we’re working on here truly a ‘hell yeah?'” That’s right. If it’s not a “hell yeah,” it’s a “no.” Credit to my buddy, the amazing Derek Sivers, for this simple yet transformative idea (check out his videos on YouTube). It’s about freeing yourself from mediocrity and committing fully to what genuinely excites you. “Hell yeah” = “Yes.” “Yes” = “No.” “Maybe” = “Hell no!” “No” = “Fuhghetaboutit!” Think about how often we settle for “good enough” ideas, hoping they’ll gestate into something special! The truth? If the spark isn’t there from the start, it’s probably not going to catch fire. By focusing on the ideas that truly light you up, you’ll not only make better work—you’ll enjoy the process and have so much more fun. Letting go of the “maybes” and (this is important) even the “yeses” creates room for “hell yeah” level greatness. Next time you’re creating, ask yourself: Does this idea truly excite me? If not, move on. Save your energy for the “hell yeahs”—that’s where the magic happens! I’ll say one last thing. Keep an open mind here. Imagine this: It could be that the hit makers of the world really aren’t that much more TALENTED than you. But! I GUARANTEE they’re likely far superior in picking the right “seed” and song start ideas and then RELENTLESSLY focusing only on that. #HowToWriteASong #Songwriter #Songwriting #SongwritingPrompts #SongwritingTips ♬ original sound – Benjamin Groff

The question is: Are you solving the issues outlined above consistently? Are you showing up, even on the hard days?

Solutions (Finally!): How to Win as an Artist Today and in the Future

OK—I just gave you a handful of obstacles.

I know what you’re thinking: “Bro, you’re such a Debbie Downer!”

But the aforementioned is something to actually get very excited about—especially if you’re ready to embrace songwriter development seriously.

Most artists and songwriters are busy with the current riffraff, dumping “whatever” songs into the DSP landfill and trying to turn those trucks around, instead of tackling the real issues!

This is where you can turn it around—or amplify what you’re already doing.

Let me ask you—whether you’re achieving 50,000 streams, 500,000 streams, or 5 million streams per song—is this your best, or can songwriter development take you further?

Is this your future reality?

If not, what’s going to happen a year from now if you don’t make key changes?

What about in five or ten years?

Will you still be releasing music?

Or you could just keep doing what you’ve always done and expect different outcomes.

Isn’t that the definition of insanity (according to Albert Einstein)?

As Dr. Joe Dispenza says, “You must stop doing what you’ve always done, to get to where you have not been.”

Sure, it’s more fun to make a song with your buddies, release it, and see what happens.

But now—are you ready to embrace true songwriter development?

Let’s tackle these obstacles, figure out how to crush them, and create a GAMEPLAN to 10X everything you’re doing.

On that note, here are ten solutions to kick these problems to the curb, jump-start your songwriter development journey, and break through to the next 10X level!

Solution #1: Get a Songwriter Development Plan in Place

Assess the obstacles and honestly identify what’s holding you back.

Let’s get real.

Maybe most things are going well, but your live shows are almost nonexistent.

Or perhaps your songs need an upgrade—how will you achieve that?

Create a plan, tackle the solution, and crush it—with songwriter development at the heart of your strategy!

Get to work.

Solution #2 (MOST IMPORTANT): Find a Coach or “Artist Navigator” for Songwriter Development

This is the single most important action you can take.

This could be a manager, a music teacher/coach, an A&R person—anyone who can guide your songwriter development.

If you already have someone like this, ask for clearer guidance on what you need.

Have an honest conversation with your manager, publisher, or label about providing more direct feedback or opening doors to creative outlets that lead to those huge songs you’re chasing.

If not, seek someone to fill this role.

Remember, I offer group and individual coaching here.

A metaphor I love involves a mountaineer climbing Mt. Everest.

How do you conquer the mountain?

You need the right gear and a map, but most important, you need a guide.

Not just anyone—a seasoned climber who knows the terrain and can say, “That path’s a minefield,” or “Take my lead, I’ll get you to the top.”

Every artist and songwriter should have an “artist sherpa”—a true ally in songwriter development.

Find someone who offers radical honesty and guidance and expertise.

Ideally, this person has been there before and can provide top-notch direction while you develop your true, authentic artistic voice.

There’s a saying: “When the student is ready, the master will appear”—and that’s especially true in songwriter development.

If you find that person—or they find you—treat them like gold.

They’re invaluable.

Solution #3: Seek Out the Best Material as Part of Your Songwriter Development Journey

This includes songs, production, and forging new sounds for the future.

Your favorite producers and songwriters (established or emerging) are just a DM away.

There’s no excuse not to reach out to collaborators who may hold the key to your next hit.

If not co-writing, perhaps they have a special song you can adapt and make your own.

It’s surprising how many “B”-level songs even superstar artists record when there are 100 years of material to cover, flip, interpolate, or sample in unique ways!

The key to your short-, intermediate-, and long-term success are hit songs and perennial copyrights.

The “R” in “A&R” stands for repertoire.

If you’re a well-known artist, ask your manager or A&R to arrange meetings with publishers, writers, and producers who might have that magical hit waiting for you.

Step into the unknown, and you’ll find song and songwriter development is often the path that leads to breakthroughs.

If not, you’ll stay stuck in the familiar.

The most important element of your career is the songs.

Triple or quadruple down—obsess over releasing the very best songs possible through refined songwriter development and with the help of the right A&R or coach.

Solution #4: Artist Marketing—Do It with Passion and Songwriter Development in Mind

“Be willing to spend as much time marketing your song as you did making it.”

This valuable benchmark comes from Ryan Holiday’s Perennial Seller, a must-read for my clients. A successful artist I met recently suggested 100 TikToks as a minimum per single.

Reframe “marketing” from “cringy” to offering value and “serving.”

Serve your fans and give new listeners the chance to discover your unique artistry and authenticity, rooted in songwriter development.

Denying them this is denying your greatness and making their day!

Solution #5: 10% = 165X (Applied to Songwriter Development)

I’ve written extensively on this.

Adding just 10 percent more effort can elevate a song from great to undeniable.

The same applies to your next TikTok—go beyond “pretty good.”

As Mr. Beast once said (paraphrased), it’s easier to create one video that gets 100 million views than ten videos with 10 million views.

That one standout triggers rewatchability, sharability, and algorithmic favor.

Most people stop at “acceptable” work.

The real payoff lies in the last 10 percent—even the last 5 percent or 1 percent—that transforms music from excellent to outstanding.

Often, when you think a song is done, it’s only 65 percent complete.

Excellence comes from pushing beyond.

Those are the songs we’ll still hear twenty years from now.

For more on this concept and improving the last 10 percent, explore my article here.

Solution #6: Create and Stick to a Songwriter Development Curriculum

Most artists and songwriters lack a “growth plan” or curriculum.

Instead, most people just go from session to session to session, thinking that eventually that great song or hit will show up.

And sometimes it does.

However, in this practice, most people begin and end the year essentially as the same person, whether in songwriting or personal development.

So the question is, do you have a curriculum for personal growth—and for songwriter development?

Yes, this means “doing the work.”

I have an article here to help you get started and explain why this is so important.

By committing to this, you’re stacking advantage upon advantage—because very few are doing this today.

This article outlines your path specifically.

Not just your path—but a hero’s journey rooted in deep songwriter development and personal transformation.

This way, by the end of the year, or quarter or month, you’ve taken forward progress to literally become a better songwriter—and also work on your own personal mindset, identity, and beliefs.

Solution #7: The Songwriting Vocabulary Expander for Better Songwriter Development

This riffs further on having a curriculum in place for your songwriting and personal growth.

Most writers and artists today have an “OK” songwriting vocabulary.

However, what happens is most people stop learning, which halts their songwriter development.

That’s right.

They stop learning, dissecting, and modeling songs—which is how they got to be “good” in the first place.

This is also why your songs might start sounding the same or your well of inspiration might be running dry. Without a structured songwriter development process, most artists default to familiar patterns instead of pushing creative boundaries.

To say it another way, if you just hang out with fifth graders and read fifth-grade material, you’re going to have problems competing on a collegiate level.

Expanding your songwriting vocabulary and studying the greats is essential for sustainable songwriter development.

I would strongly suggest learning from legends versus just your contemporaries.

Go to the source, analyze, and model your favorite artists’ or songwriters’ work (and then figure out whom they learned from).

Download the free Songwriting Vocabulary Expander worksheet and check out the expansive article on the subject here.

This is literally how the best become the best.

Conclusion: Building a Sustainable Future Through Songwriter Development

In a world where a million songs vanish into the digital abyss each week (and with that number to continue to go exponential), lasting success demands more than fleeting virality or algorithmic luck. A proven songwriter development program is your shield against obscurity.

The challenges outlined here—”pretty good” songs, the 1–10-million-stream trap, and the erosion of artist development—aren’t roadblocks but invitations.

For those willing to reject mediocrity, today’s chaos is a launchpad.

The gap between “good enough” and “legendary” has never been more lucrative, but seizing it requires embracing uncomfortable truths: your songs must rival the greats, your live show must ignite rooms, and your mindset must crave evolution, not validation.

The blueprint is clear: surround yourself with coaches who challenge your blind spots and accelerate your songwriter development, not cheerleaders who coddle them.

Hunt for songs that transcend trends—whether through collaboration, interpolation, or mining decades of untapped catalogs.

Treat marketing not as a chore but as a love letter to your audience—and a reflection of your songwriter development.

And above all, recognize that greatness isn’t a lottery ticket—often it’s just the small things, like the sum of 10 percent more effort and finding the very best songs to release.

I think Winston Churchill said it best: “My tastes are simple. I am easily satisfied with the best.”

And this is what your audience (and new fans who don’t yet know your music) actually want.

They want the best.

They want to be moved.

They want hits.

They want an impact.

So give it to them—in a relentless and passionate fashion.

This is the era of artist empowerment, but empowerment without songwriter development and discipline is utter and complete noise.
It’s what we are seeing now.

The DSP landfill grows daily, yet listeners still crave anthems and “songs of life” and energy that stop them mid-scroll.

Will you be the artist who fizzles after a flash of hype, or the one who engineers a career that outlasts playlists?

The tools, the mentors, and the hunger exist.

The only question left is: are you ready to dig deeper than everyone else?

The mic is on.

The crowd is waiting.

For you.