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Randall Foster is a proven music and media executive specializing in digital distribution, business development, film/TV synchronization licensing and more. He is currently the Chief Creative Officer of digital distribution company Symphonic Distribution. Prior to this, Randall was the Sr. Director of Creative Sync & Licensing for ole music publishing. Randall joins Tim to discuss all things digital distribution: 1:15 - What are the different models for distribution for an artist? 08:03 - As an artist or publisher, what do I need to bring to you, other than the finished product? What’s a good lead-time? 11:42 - What is a focus track? 12:28 - Is there a particular system that seems to be ideal? 16:48 - YouTube Monetization: What does that mean coming from you the distributor and me the artist? 22:05 - You’ve mentioned “hacking the system,”…what do you mean by that?

Marc joins the Pubcast to talk about his new role in SoundExchange, what the platform does and his passion for NFTs. 00:28 - What is your role at SoundExchange? 02:45 - Who gets SoundExchange money and what exactly is it that they are collecting? 07:36 - So you said “Letter of Direction,” can you explain what that means? 08:45 - Lets talk about rates. What kind of income are we looking at with SoundExchange? 11:33 - Who is paying into the pot of SoundExchange. Who do you pursue to make sure royalties are coming to you? 13:13 - NFTs: Do you see this becoming a value add to the music business? 16:50 - Can you give me a real world example of how you would use a NFT?

Olly Sheppard is the VP of Publishing and A&R for APG. Before his role at APG, Sheppard was a member of Warner Music Group, handling sync for the TV & film department of Warner Music UK. Olly sits down with Tim to discuss APG’s role in the music industry. The VP also shares invaluable information for songwriters looking for their big break. 00:27-Olly shares how he got started in the industry and how it led to his role in APG 02:43-Olly breaks down APG’s role within the music industry 04:23-As the VP of Publishing and A&R, are you involved in artist and writer development? 05:24- What makes you want to sign somebody? 6:20- When you say a writer “works hard,” what do you mean?7:32- Do you have to be in LA to be a successful pop songwriter? 11:00- What’s some of the best advice you can give to a new writer?

Welcome back Pubcast listeners! Season 5 kicks off with a conversation with father and son duo Dennis and Jesse Matkosky of Relative Music Group. After getting his first big break when Diana Ross cut his song, Mirror Mirror,” Dennis Matkosky went on to have an illustrious career; writing songs with the likes of Keith Urban, Martina McBride, and Rascal Flatts. He is also the one responsible for the Flashdance classic, Maniac.” As many sons before him, Jesse Matkosky wanted to be a part of the industry that made his dad so successful. Before heading the creative direction of Relative Music Group’s writer and artist roster, Jesse was touring nationally with 300 Entertainment/Warner Music Nashville artist, Bailey Bryan. When the opportunity to collaborate with rising songwriter (and eventual artist) Michael Hardy was presented to them, the Matkosky's knew it was a no-brainer, and the partnership has continued to this day with Relative Music Group. 00:36 - Dennis and Jesse share their biographies, along with how Relative Music Group started02:38 - When did you decide to really go for it with this partnership with Michael Hardy and start signing other writers?05:12 - As Hardy’s artist career has taken off, how has this affected the growth of the company?08:12 - How do you deal with crises within Relative Music Group?08:58 - Do you have a process when recruiting new writers to the team?10:48 - With the opportunity to become a giant within the industry, how are you looking to continue that growth process as a team?12:42 - Has there been any challenges with being a father and son-run company?

This episode is a unique one, and why should it be any different after the year we've had. Tim offers his "Tim-inspirations" in this season's wrap-up and as well as a little history of the AIMP. We hope you all have been inspired and also informed during this past season. We're already working on season 5 of the AMIP Pubcast and until we see you again. Visit us at www.aimp.org for any upcoming events, follow us on socials @aimpnashville, visit this past year's sponsor Songtrust at www.songtrust.com, and be sure to subscribe to the Pubcast on your device. Take care and see you all in 2022!

Our Crystal Ball episode is one of our most popular episodes yearly. This year, host Tim Hunze asked each guest to peer into their crystal ball to let us know what they see in the future in terms of the industry, publishing, and even music trends. We've selected our favorite clips and in order are David Israelite of the NMPA, Tali Canterbury, President of 50 Egg Music, Kris Ahrend of The MLC, and Alicia Pruitt of Madfun Entertainment.   01:02-  David Israelite of the NMPA 03:10- Tali Canterbury, President of 50 Egg Music 05:52- Kris Ahrend of The MLC 08:18- Alicia Pruitt of Madfun Entertainment

This podcast is full of brilliant advice on how to navigate your music journey from the people that run the business. To trim the fat, we created a mash-up episode that could get down to the nitty-gritty. We asked each guest the best advice they ever received throughout their career. By far this was the hardest mash-up episode to edit because each guest was dropping so much wisdom that they learned through life lessons and from mentors. We selected four clips that we felt could apply to every passion in the music industry. In this episode, you'll hear from David Israelite, Tali Canterbury, Alicia Pruitt, and Will Hoffman. You can listen back to previous episodes with each one of these guests from this season.  01:03- David Israelite of the NMPA 03:41- Tali Canterbury of 50 Egg Music 05:01- Alicia Pruitt of Madfun Entertainment 06:55- Will Hoffman, Artist Manager at Shelter Music Group

01:05- Robert Briggs of Levity Music 03:06- Tali Canterbury of 50 Egg Music 04:38- Artist Manager, Charli Salvatore 05:32- Kris Ahrend, CEO of MLC

01:00- Tracy Hackney of Music Row Wealth Management 03:58- Alex Kline, Hit songwriter and producer 06:18- Kent Earls of Verse 2 Music 08:54- John Ozier of Reservoir Media Management

01:28- Biography and work history. 07:35- What was the reason for moving from company to company early in your career? 09:00- How do you define entrepreneur, and do you consider yourself one? 10:46- How often do you consider risk in business? 12:41- What do you think it takes to be a great publisher and how is that different in 2021? 16:35- What do you do to motivate yourself in the day-to-day hassles of the job? 

Jenn Schott is a speaker and the songwriter behind Tim McGraw's "7500 OBO" and "Two Lanes of Freedom". Schott also has major cuts with Billy Ray Cyrus, Mickey Guyton, Rascal Flatts, and other names familiar to country radio. In this vulnerable conversation with host Tim Hunze, the highs of success are recounted over Schott's career as well as those seasons that may not feel like what a songwriter sign's up for. 00:55- Biography and career highlights 03:10- How many publishing deals have been part of Jenn's career? 04:43- What made you choose your first publisher out of many? 05:39- From your first deal, how was processing your first option toward the end of your contract? 07:07- Were you pursuing an artist's career? 08:06- Do you remember your first cut? 08:49- If your first deal is coming to an end, how do your process your and manage your emotions? 10:44- Did you take being dropped personal? 12:15- Do you know when a creative partnership with your publisher is coming to an end and how do you manage your personal feelings? 13:23- Is there a process that you have maintaining your creativity during business phases? 15:20- How hard is it to stay focused on your career than focusing on other's successes? 

02:45- Why would I want to join the AIMP? 04:47- Is there a legislative update for the AIMP and publishers? 06:05- What is your actual role in the AIMP? 08:05- What has been your greatest achievement as Chapter President of the AIMP? 09:36- What has been your greatest challenge from the Nashville AIMP offices? 10:27- What are the perks of membership? 11:26- Staying innovative and unifying other chapters. 13:06- What is an independent publisher? 16:24- What is (John's) vision and political stance with the AIMP in the future? 

Kent Earls, a music industry professional and now a partner at Verse 2 Music with artist Kane Brown as a joint venture with Sony Music Publishing, sits screen to screen with Tim Hunze to share the differences in indie and major publishers. Is one different in creative or just in business? With Earls expertise in both fields, we're able to understand the key differences for professionals. 01:05- Set up and quick background 02:35- The benefits of working in the "majors". 03:50- A key difference for independent publishers. 07:47- What was the decision to decide to work with a major publisher with Verse 2 Music? 11:03- The Micro/Macro of starting your own company. 16:49- Signing new talent, do you have a number or a goal to achieve soon?  

02:08- Brief bio and work history 04:17- Do you see Nashville as an infrastructure for rock music? 07:44- In the rock scene, how involved are publishers involved with artist growth? 11:40- What is the relationship with publishers and even writers with rock artists? 14:33- How is talent discovered? DSP's, social numbers, etc.? 18:02- What should new acts be working on to be noticed by management and business alike? 

00:53- Background 02:51- How does it feel to have hit-songwriter and producer attached to your name? 04:17- When did you transition into focusing on production? 07:58- The community of women in production. 09:25- Why have women not been in the producer's chair or work in production? 11:56- Are there any tips or suggestions for anybody interested in production to have it become a skill set? 15:58- Do you have in mind the process of choosing your next projects after the recent success? 

02:50- What was the inspiration to write a book for songwriters about money management?   07:45- (Laura)When you signed your first deal, what triggered you to start thinking about money? 11:49- (Tracy) When should songwriters start having these conversations? 14:54- Balancing a business and personal account, on the path of wealth management (i.e. managing your self-employed deductions)

02:15-  History and Background 03:26- What started the transition into or the thought process to start managing artists from music publishing? 07:20- What is your attraction to artists and writers to work with young talent? 10:35- How do you go about your "A&R" process for finding an artist's true voice? 14:29- Has there been a co-write that an artist was on the fence about but happened to be a success story? 16:39- Have you been challenged at times with artist's going in a direction that may not be suitable for their career? 

02:30- A timeline of The Mechanical Licensing Collective opening their doors. 03:59- Working with the Harry Fox Agency and critical reception with them as a vendor. 09:20- In the future who do (publishers) see about licensing, The Mechanical Licensing Collective or the Harry Fox Agency? 12:58- What are ways publishers should be putting their best foot forward with data management and input? 18:49- The funding for the MLC. 20:46- How can you explain distributing 424 million dollars of unmatched money?

01:15- Background and work history. 07:48- The management case study of Russell Dickerson. 17:09- Tik Tok and the new marketing tool for music.   Since this conversation was recorded, Charly Salvatore has started operating under his new business. He can be reached by email at charly.salvatore@gmail.com.

01:40- Brief bio and work history 04:15- What do you specifically do at SESAC? 07:18- The importance of registering your songs accurately and timely. 09:09- Registering your live performance setlists for extra income. 11:25- How do you track social media platforms' live performing rights? 13:37- What does your day to day look like for connecting songwriters? 15:47- What attracts you to an artist/songwriter since SESAC is selective?