SPOTIFY

Spotify from single artist to hit co-author-artists


Some people may know Jenny Wayne Youngs For his thorough pop-culture podcast, Buffering the Vampire Slayer And Veronica Mars Search. Others may become more familiar with his insightful, wide-ranging catalog of weak solo music, which leads to indie furnished with rock and folk influences.

Over the years, however, Wayne Young has gone from being a solo artist to a hit co-author: he has Credit for writing the song On Panic! At the discoMassive hit “High expectations, “As well as by melody Pitbull (“Bad people“), Ingrid Michelson (“Miss America“), And Brett Denen (“Home away from home“).

Owen Youngs began exploring songwriting for others in the mid-2010s. A former manager thought working in co-writing was likely to increase his success as a solo artist, and so he started booking travel trips from his home in Brooklyn to Los Angeles to write sessions. However, he had difficulty maintaining a bicoastal lifestyle.

“No matter how well you plan for a three-week writing trip, there can always be something that gets canceled,” he said, “and there will always be opportunities that you will always miss because you don’t have time to build your writing network. Pull things in randomly. “

In 2015, Wayne Young decided to move to LA and what it looked like – a decision that made it easier for him to leave Brooklyn anyway. Five years later, he is still there and maintains a busy creative lifestyle. Not only is Owen Youngs releasing his own music (including 2019) Night shift EP), he continues to co-write; In fact, a song that he wrote Dan Wilson | And Ethan Gruska, “Red light, “Released in March.

Finding the balance of this career has been a slow and steady process. “Learning to write songs with others and for specific licensing pitches – there’s a learning curve here,” he says. “There’s more room for your personal voice in your own artist project. And then when you’re writing for other people, you need to make sure other people understand your meaning.”

We talked to Owen Young about what he meant, and how his experience with co-writing helped him develop as an artist.

Spotify for Artists: Talk a little bit about the difference between writing for yourself and writing for someone else.

Jenny Wayne Young: I do a lot of sessions, if I’m not with an artist, I’ll often be with two other writers who are also doing sessions all the time. And they’re on the verge of it, “Does it make sense? Do we all think it’s cool? Does it make sense to all of us – or does it have enough ideas for all of us – to keep the idea going?” Sometimes we think, “Oh my God, it makes a lot of sense.” And you say it in the room and like everyone else, “Wait, what?” [Laughs.]

In these moments you usually have to get in the habit of getting very weak where usually, in the previous days I was alone with a sheet of paper. It’s often not about what you say – but more about what spreads through someone else’s brain. You say the idea, and then someone else in the room says, “Oh my gosh, isn’t it, but you made me think about this thing?” And it’s really very exciting that way. You never know what’s going to happen.

What was the biggest combination of this kind of experience for you in the music writing room with others and how did you adjust?

The biggest emotional hurdle for me was thinking about writing No. Failure. By the time I started the co-writing session, it felt like I was giving up making and touring, other than recording and touring on my own. It was a huge emotional adjustment that took years, and happened in increasingly little bits. [Laughs] A lot of times I would feel like, “Oh, I’m giving up. The defeat feels like that. But I’ll go and do what I can and try to do a good job.” And then, slowly, I began to rediscover the joy in those moments where you are writing with people and suddenly you find the idea.

This is the moment I love the session when all of a sudden you are pushing the boulder, you are pushing the boulder, you are pushing the boulder. You sometimes think at a certain point, “Well, maybe there’s not going to be a song today.” And then, suddenly, there will be some jail. Something will happen and the cool song will suddenly crystallize in the room with you.

Writing songs is like going to the gym. Working these creative muscles has made writing for myself more accessible to me. I thought to myself, “Wow, I’m doing four sessions a week. Will there be anything left for me? Will I ever have time to write for Jenny Staff?” But what happened was that constantly putting yourself in that creative state and working those muscles, things just started to bubble up. Suddenly, I was writing a lot more songs for myself than I was, which was a lot more. It has really been fruitful that way.

Got the credit for co-writing a song like “High Hopes”, which was such a huge song, opened more doors – or a different door? What did you find?

I would say that the No. 1 thing that has changed is that the sessions I often drag have artists in them, which is a dream. And that’s very cool. So many people have worked [“High Hopes”] And it seemed like when it was finalized, it was happening to someone else. I was like, “This is great,” but I didn’t feel it as something I had.

I would say that the doors of sessions that are exciting to me open more easily. It’s like a breakthrough. It’s like the next step. Luckily for me, my name has been linked to a song that has done very well, which makes people think, “Maybe it could happen again. Let’s get him here.”

You mentioned that co-writing all made you more creative when writing for yourself. Did you change the music in any significant way?

I hope this is getting better. [Laughs] My No. 1 goal. I want to remember that I am able to do something I have learned over time in sessions [and] Corporate [that] In the process of my own writing. Sessions are really the greatest gift to work with [been] Collaboration as a skill and the gift of collaborators as a network. I released an EP in November [Night Shift] It basically worked by the people I met through the session work.

Jack Sinclair, who created a panic! Record, a song production. His brother John, Who is an incredible mixer, blended. Ethan Gruska, with whom I also met in a blind-date writing session, composed three songs and wrote one with me. Christian Lee Hutson, With whom I also met in a one-day writing session, we wrote a song together for him. And then there were a few friends who came back to New York who also worked at EP. But the vast majority of staff were all people I met through writing sessions.

Would you like to share any other advice you know before you get into co-writing?

I think it’s really important for people to remember that there’s only one of them. They have ideas that no one else can have. They have those ideas in a way that no one else can have. Everyone has something to contribute.

It’s a weird business, and it’s so easy to get discouraged. But if you like it, you just have to do it. Keep trying and keep creating, because today may be the day when you write the song that will open the door to the next song that will open three more doors for 10 songs.

It can be really, really frustrating, like, “Man, I’m putting all my creative juices into this pursuit and I don’t think I’m getting anything back.” And I’ll encourage people to try to expand your thinking, like, “I want song number one. That’s my goal.” If you can expand your thinking beyond that and think, “Well, what are all the ways you can feel satisfied and fulfilled in what you are creating?” Make a list if necessary.

And when you first write a song, or the process of writing a song that you were excited about, you can reconnect with wherever you feel like, after which you wrote your first song. It is so important to keep yourself energized.

– Annie Jalesky



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