Author: Kevin Rogers Cobus

Kevin is a singer, guitar player and writer in an original indie rock band called Shoemaker Levee. He also has a solid background in Digital Strategy, Digital Marketing, SEO, Search Engine Marketing, Professional Journalism, Content Marketing, and Editorial Management.

Interview with: Nicky Markin, Midnite Gossip | The Indie MBA

on By
Midnite Gossip Promo Shot

Ever wonder what it’s like to juggle making music, running a band, and handling all the behind-the-scenes business? 

The Indie Distributor catches up with Nicky Markin from Midnite Gossip to talk about just that. She takes us through the band’s journey, from figuring out music production to crafting a killer live show. Along the way, we dive into the ups and downs of being an indie artist, the power of networking, and why treating your music like a business can make all the difference. 

The Indie Distributor: Thanks for joining! We’re here with Nicky Markin from the amazing Midnite Gossip. Thanks for taking the time to chat. We’ll touch on your creative endeavours and some of the entrepreneurial projects you’ve been working on. To start, can you give us some background on your origin story with Midnite Gossip and how things came together leading up to 2022?

Nicky Markin: Midnite Gossip started in 2022, but before that, I was a singer-songwriter and independent artist with a solo project for many years. I’ve played guitar since I was a kid—I picked up my mom’s old classical guitar when I was about 13 or 14 and taught myself to play. Around 2019, I decided to take music seriously, started vocal lessons for the first time, and immersed myself in building a music community.

I was also in my master’s program at the time, doing dance and other training, and realized I’d never actually taken vocal lessons. That was a game-changer because it connected me with other singers and artists. Then the pandemic hit, which changed things for everyone, but I didn’t let it slow me down. I started engaging in online communities, attending virtual open mics, and working on production.

During this period, I realized I wanted to make uplifting music—songs that would make people dance and feel good. That’s what led me into production and electronic music. I made a bunch of demos that would later become Midnite Gossip’s songs. In 2022, my bandmate Mickey and I reconnected after knowing each other since the MySpace days. Once we started talking again, we realized we had the same vision for a music project, and things have been great ever since.

The Indie Distributor: That’s amazing! Do you and Mickey share similar influences?

Nicky Markin: Absolutely. We grew up in the Big Shiny Tunes and MuchMusic era, and that really shaped our sound. The 90s had such a diverse mix of genres—bands like Incubus, Nine Inch Nails, and Massive Attack all influenced us. That’s why we landed on calling our music “cinematic alt-pop” because it’s a blend of so many things. When we play live, we take the audience on a journey through different sounds, which might seem eclectic individually but work cohesively in a set.

The Indie Distributor: What does your creative process look like?

Nicky Markin: I usually start with lyrics and map out a rough demo in Logic. Then I pass it to Mickey, who works his magic with production. We go back and forth refining the song. He’s incredibly skilled at composing and producing, so it’s a collaborative process where we keep building on each other’s ideas. It’s a fun challenge to let go of my original version and let him reinterpret it. It’s like a tennis match of creativity.

The Indie Distributor: That’s really cool. You’re producing and mixing everything yourself?

Photo by Taylor Lang

Nicky Markin: Yes, we record all our vocals and production in-house. We do most of the mixing, then pass it off to someone else for final mixing and mastering.

The Indie Distributor: How do you translate that studio work into live performance?

Nicky Markin: We use backing tracks for our live shows, which comes with its own challenges, but it allows us to bring the full production to life. Our live versions often have extended bridges or intros, so we create different mixes for the stage. Mickey plays an acoustic drum kit live, and when we have access to screens, we incorporate custom visuals that he creates as a visual artist.

The Indie Distributor: You were nominated for the California Music and Video Awards—how did that happen?

Nicky Markin: We submitted our video and were thrilled to be nominated for three awards: the 8th Annual California Music Video & Film Awards for: Best of Canada Music Video, Coolest Video Effects, and The Chip E. Best EDM/Dance Music Video Award. More recently, we were also nominated for Best Performance Video at the Simi Music Video Awards in California. It was amazing to see our DIY project get international recognition. Mickey directed and edited the video, and we shot it ourselves in my living room on the hottest day in June!

The Indie Distributor: What advice do you have for indie artists looking to create professional music videos on a budget?

Nicky Markin: Having a solid concept is key. If you can’t edit or shoot yourself, invest in hiring someone. Even if you’re DIY, using good lighting and planning your shots makes a huge difference. And remember, a lot can be done in post-production.

The Indie Distributor: Shifting gears to the business side, can you talk about your EPK (Electronic Press Kit) initiative?

Nicky Markin: Sure! I have an MBA in Entrepreneurial Management, and after graduation, I wanted to use it to help indie artists. That’s how The Indie MBA started. I realized one of the biggest struggles artists face is creating an effective EPK. So I developed the EPK Blueprint—a resource that includes templates, guides, and checklists to help artists get booked, get paid, and get known. It includes the EPK checklist, a bio-writing and press release guide and templates, two customizable one-sheet templates and a branding guide and brand board template. 

The Indie Distributor: It really is a fantastic resource. Where can people find it?

Nicky Markin: It’s available on my Instagram (@theindiemba) through the link in my bio.

The Indie Distributor: Any final advice for indie artists struggling with the business side of music?

Nicky Markin: If you don’t want to do the business side, that’s okay—just make music. But if you want to get booked and paid, you have to treat it like a business. It’s a mindset shift. Your music is a product, and you have to let go and let it find its audience. Also, networking is huge—it’s not just what you know, it’s who you know. Opportunities often come from connections, not just streams or social media numbers.

The Indie Distributor: That’s great insight. What’s next for Midnite Gossip?

Nicky Markin: We have a show on March 3, then we’re heading to Ontario for the taping of our appearance on CMCTV Talent Season 3 that will air later this fall. Midnite Gossip was selected as one of 32 artists to perform on CMCTV Talent Season 3, a nationally televised series showcasing Canada’s top independent musicians on CityTV and CMCanadaTV. We also have a show on March 29, opening for Cold Fame. We’re working on new EPs, remixes, and collaborations. It’s an exciting time!

The Indie Distributor: That’s amazing! Thanks so much for sharing your journey and insights, Nicky. Looking forward to seeing what’s next for Midnite Gossip!
Nicky Markin: Thank you! I appreciate it!

Empowering Indie Artists Through Community and Entrepreneurship

on By
Gerard Longo- CEO of UMC Nashville

An Interview with Gerard Longo

From starting a humble podcast in his childhood bedroom to building a full-fledged community that empowers independent artists, Gerard Longo shares valuable insights on the entrepreneurial mindset, the importance of values-driven branding, and how artists can take control of their careers. 

The Indie Distributor recently sat down with Gerard, founder and CEO of Underground Music Collective, to discuss the evolution of his platform and the lessons he’s learned in the indie music industry. 

The Indie Distributor: Thank you, Gerard, for joining today. We’re excited to have you here. You’re the founder and CEO of Underground Music Collective, an organization that aligns with our mission at The Indie Distributor—encouraging independent music and artist development. We wanted to take a moment to ask a few questions about your journey, your experience, and what led you to create this initiative. What set everything in motion for you?

Gerard Longo: It all started back in 2013 when it was just me, an idea, a USB mic, and a laptop in my childhood bedroom. Before I even had the mic, I found myself listening to old editions of my college radio show. I had a rare free weekend, and I needed a creative outlet. That’s when I decided to start a podcast. I had no idea what I was doing, but I just started. I created social media accounts, a logo, and started reaching out to artists, asking if I could feature their music—even though I had zero episodes and no audience. Surprisingly, many of them said yes. From there, I followed the trail.

Along the way, my friends from community theatre joined as co-hosts, and we ran the podcast for nearly two years, interviewing guests from five continents, hosting events, and immersing ourselves in the indie scene. It gave me a deep appreciation for what independent artists go through. At the time, I was working as a contractor in IBM’s Design Lab doing internal communications. When my contract ended in late 2013, I decided to lean into this creative pursuit. I was delivering pizzas and mowing lawns to make ends meet while trying to build something meaningful.

People often say, “Do what you love, and you’ll never work a day in your life.” But in reality, when you do what you love, you work harder than ever before. You find out very quickly if this is something you truly want to do. And I did.

Through 2014 and 2015, the podcast continued, but my life and my co-hosts’ lives started going in different directions. Eventually, I made the decision—perhaps not handled in the best way—to take the show solo. I moved to Bethlehem, Pennsylvania, where I had just gotten a new job, and I took the podcast with me. A few months later, I launched Lehigh Valley Underground, the first iteration of Underground Music Collective. I felt the podcast needed something more, so I started a blog covering local releases, attending shows, and teaching myself photography. That was the beginning of being fully immersed in a music scene every single day.

By 2018, after winning local awards and building a strong regional presence, I felt it was time to take things to the next level. I was 31, and I wanted to see if I could make this work in an industry town like New York or Nashville. Nashville won out because I had connections there and opportunities lined up. So, in late 2018, I rebranded Lehigh Valley Underground into Underground Music Collective and made the move.

Over the years, I’ve learned that taking the leap into entrepreneurship teaches you everything about yourself—personally and professionally. Although I haven’t been actively making music, I see so many parallels between what I do and what independent artists go through. We’re all building something from the ground up. It starts with an idea, but then it requires strategy, relationship-building, and an understanding of how to sustain it.

Now, UMC has evolved into more than just a blog or podcast. It’s an educational platform. We launched the UMC Academy in March 2023, where I help artists develop their big-picture strategy—who they are, why they do what they do, and how to create from a place of authenticity. It’s about defining your mission, vision, and value proposition. Your audience isn’t just your fans—it’s your collaborators, partners, and anyone making a business decision about working with you. Artists need to understand how to position themselves as a business.

The Indie Distributor: That’s such an important point—helping artists understand that their work isn’t just about creativity but also about entrepreneurship. Have you encountered pushback from artists who feel that focusing on business takes away from their art?

Gerard Longo: For the most part, the artists who come in as clients are already prepared for that conversation. But there have been exceptions, especially before I refined who my ideal client is—the “artist-preneur.” Some artists initially came in looking for a quick path to virality. They’d ask, “How do I go viral? How do I do what this person is doing?” My response is always, “That’s not the point.” The point is to lean into what makes you unique. How do we develop systems, structures, and goals that allow you to grow sustainably?

There’s a common misconception that success happens overnight. I moved to Nashville in 2018, and I remember hearing people say that Lizzo was an “overnight success.” But when you look at her journey, she spent years struggling—sleeping in her car, working odd jobs, and facing rejection. Then, when she finally had her breakout moment with *Truth Hurts* and *Good as Hell*, people suddenly assumed she came out of nowhere. That’s not how it works. Success is always years in the making.

That’s why UMC is focused on long-term, sustainable growth. We help artists define their values first because that’s what connects them with their true audience. It’s not about chasing trends. It’s about building an engaged community—your 1,000 true fans—who will support you no matter what. And that means thinking beyond vanity metrics like Spotify streams or Instagram followers.

The Indie Distributor: That’s a critical perspective. Many artists get caught up in numbers and forget that having a dedicated audience of even 100 engaged listeners is more valuable than having 50,000 passive followers. Are there specific recommendations you give artists for balancing their presence across different platforms while also owning their audience?

Gerard Longo: Absolutely. Social media is important, but it’s rented land. Algorithms change, accounts get suspended, platforms rise and fall. That’s why artists need to build an email list, cultivate a Discord or Patreon community, and create their own ecosystem. That’s where real, engaged fans live. At UMC, we help artists think about how to drive their audience toward platforms they control while still leveraging social media as a tool.

We also focus on education. Our Brand Camp program is a six-week deep dive into branding, goal-setting, and audience development. We also offer one-on-one mentorship, and we’re building the Underdogs Community—a hub for creatives across industries to learn from each other. Ultimately, we want UMC to be a resource for everything an independent artist needs.

The Indie Distributor: That’s incredible. Thanks so much, Gerard, for sharing your insights. Where can people find you and get involved with UMC?

Gerard Longo: Check out https://umcnashville.com for everything we do.
Follow us on Instagram at @UMCWorldwide, and you can also find me personally at @GerardLongo12. Our podcast, The Quinn Spin, is on all streaming platforms. And if you’re interested in *60+ Lessons from the Creative Journey*, it’s available on Amazon and IngramSpark. Looking forward to connecting!

Inside the Making of “Purple”: An Interview with Cudbear’s Bennett Jones

on By

Inside the Making of “Purple”: An Interview with Cudbear’s Bennett Jones

If you haven’t yet had the pleasure of seeing this explosively energetic and yet hauntingly melodic three-piece, do yourself a favour and look up their next live performance. 

Cudbear, from Barrie, has just released their latest album, Purple, marking a pivotal moment in their journey. 

From navigating lineup changes to refining their creative process, frontman Bennett Jones offers insight into the making of the album, their evolving sound, and the challenges of being an independent band. In this conversation with The Indie Distributor, Bennett reflects on the band’s growth, their approach to songwriting, and what’s next for Cudbear. Dive into this candid discussion to discover the inspiration behind Purple and the band’s plans for the future.

—–

The Indie Distributor: We’re here with Bennett from the incredible three-piece Cudbear from Barrie. They’ve just released a new record called Purple, and it’s fabulous. Bennett, I wanted to ask you a few questions about the record and your experience making it. 

When talking to musicians who’ve been through the recording process a few times, the decision to compile everything into a full LP is always interesting. Was this something you planned in advance, gathering singles into an album, or was there a different process behind Purple?

Bennett Jones: This record was a bit unusual. We found out our drummer wanted to pursue something else, and at that point, we had written so much music. I really pushed to make a record because I didn’t want those songs to go unrecorded. I don’t have regrets, but I do wish we had recorded even more music when we were a unit—we probably had enough for two albums at the time.

Purple ended up being the best selection of what we had. Some songs were written when the band first formed, and others came just months before we went into the studio. It’s a mix of old and new, but I think the flow works well, and it captures everything we wanted to say at that moment.

The Indie Distributor: It’s a current statement. Between your 2019 release and now, you’ve gained a lot of experience. What did you learn in the process?

Bennett Jones: Every record has been different. We also did an EP in between, and when looking at our discography, we were reflecting on which project was the most fun and what direction we want to go next. I don’t have a favourite, but *First Bite* has a youthful angst to it—we were 19 or 20 at the time. That energy is something we’re trying to channel again.

I’ve learned to always be writing and recording. You never know when you’ll need to put together another album, and when that time comes, you want to be prepared. Our EP was a bit more experimental, like the piano-driven song that transitions into electric. It was fun, but I prefer concise, clear artistic statements. Purple is direct and in-your-face, and I like that.

The Indie Distributor: That clarity really comes through. Do you have a new drummer now?

Bennett Jones: Yes, we brought in Keegan Ross. He also plays in Gout and O27, but he’s now part of Cudbear. We went on tour in 2024 and did everything independently—we don’t have a tour manager or label. This year, we’re planning more shows and looking at the possibility of working with a label or management team. Most of the artists we admire have some kind of team supporting them, and we’ve started to consider that as a next step. Ideally, we’d love to make a living off of music, touring half the year and writing in between.

The Indie Distributor: That transition isn’t easy. It’s a shift in autonomy, and indie artists have to be ready for that. On Purple, did you work with a producer?

Bennett Jones: We worked with Zach Johnson. He produced and mixed the record. He was great to work with, especially for me because I like doing a lot of overdubs and harmonies. He made the tracking process smooth and efficient. We’ve always referred to our collaborators as engineers rather than producers since we bring in fully formed songs. A producer, to me, is someone who shapes the sound and pushes the band in new directions.

The Indie Distributor: That makes sense. So, do you have physical copies of the album?

Bennett Jones: Yes! We pressed 200 CDs through Indie Pool in Toronto. CDs still sell well at shows, along with T-shirts. Even though CD players are becoming rare, people still collect them, and they’re an affordable option for bands.

The Indie Distributor: Purple is an intriguing title. What’s behind that name?

Bennett Jones: It just felt right. After coming home from the studio, I kept thinking that Purple captured the emotion of the record perfectly. Interestingly, Cudbear is also the name of a purple dye, which was a coincidental but fitting connection.

The Indie Distributor: That’s a cool fact! What’s your songwriting process like? Do you write together in a room, or do you bring ideas individually?

Bennett Jones: Ideally, we write together because that’s what rock and roll is—people in a room, sometimes irritating each other, channelling that energy into music. But it varies. Sometimes Adam and I hash out ideas and bring them to the drummer. Other times, I’ll take something as far as I can before presenting it at practice. We haven’t found a perfect formula yet.

The Indie Distributor: That’s fair—sometimes keeping it flexible is the best approach. What’s next for Cudbear?

Bennett Jones: We’re tracking new songs and have about half an album done. We’ve been playing some unreleased songs live, and people have been asking for recordings, so we’re considering a Purple deluxe edition or starting a new album. We also met a producer at Gussapolooza, Sig Freed Mier, and we’re hoping to work with him this year.

Beyond that, we want to keep playing shows and figuring out ways to fund our music. We’ve talked about doing some cover gigs since they pay well and could help sustain our original work.

The Indie Distributor: That’s always a balance—deciding how much time to dedicate to covers versus original material. Given how much the industry has changed since 2019, do you have any advice for emerging artists?

Bennett Jones: Focus on the music first—practice every day. There are more resources than ever, but the industry is also more saturated. The key is to not give up. If you take yourself seriously, others will too. Stay professional and persistent.

The Indie Distributor: That’s solid advice. Any upcoming shows?

Bennett Jones: We’re playing the Queens Hotel in Barrie on March 15th, and we’ll be back at Gussapolooza in 2025 as a headliner. It’s going to be a great weekend!

The Indie Distributor: Awesome! Thanks for your time, Bennett. Purple sounds fantastic, and we’ll be promoting it so more people hear it. Where can people follow Cudbear?

Bennett Jones: Instagram is the best place right now. We’re also on YouTube, Facebook, and TikTok.

The Indie Distributor: Perfect. Thanks again, Bennett!

Celebrating Independent Art: The Indie Distributor Project Co-Presents Gussapolooza 2024

on By

The Indie Distributor Project is thrilled to announce our co-presentation of Gussapolooza Music and Arts Festival 2024—a three-day celebration dedicated to launching and nurturing the careers of independent artists. This partnership reflects our commitment to empowering emerging talent across Canada by providing them with the tools, exposure, and opportunities they need to thrive in the competitive worlds of music and film.

Gussapolooza: A Unique Platform for Emerging Talent

Since its inception in 2017, Gussapolooza has grown from a grassroots backyard event to a dynamic festival that now features over 50 bands, multiple stages, and a vibrant array of visual and performing arts. It’s not just a festival; it’s a community-driven experience that brings together artists, music lovers, and industry professionals in a shared mission to celebrate and elevate independent art. With its eclectic mix of music genres, comedy shows, creator’s conventions, and more, Gussapolooza offers something for everyone—whether you’re an artist looking to connect with like-minded individuals or a fan ready to discover your new favorite band.

Why Indie Distributor Supports Gussapolooza

At the Indie Distributor Project, our mission is to bridge the gap between emerging artists and the opportunities they need to succeed. We believe that Gussapolooza embodies this mission by offering a platform where artists can gain visibility, network with industry insiders, and hone their craft through workshops and seminars. By co-presenting this festival, we’re not just supporting a single event; we’re fostering an environment where creativity can flourish, and where the next generation of artists can find their footing.

Join Us at Gussapolooza 2024

We invite you to join us at Gussapolooza from September 13-15 in Cookstown, Ontario, for a weekend of incredible music, inspiring art, and community spirit. Whether you’re an artist, a fan, or just someone who loves to support local talent, Gussapolooza is the place to be. Together, with your support, we can continue to grow this festival into a cornerstone of the indie arts scene and help artists achieve the recognition they deserve.

For more information and to get involved, visit Gussapolooza and The Indie Distributor Project.

Black Suit Devil: Hope Sleeps Eternal

on By
Black Suit Devil The Eternal Sleep - Album Cover

The Indie Distributor recently sat down with Andy Du Rego, the talented frontman of Black Suit Devil and The Blues Emergency. Andy opens up about his creative journey, the evolution of his sound, and the inspiration behind his latest album The Eternal Sleep. From the dark undertones of his lyrics to the infusion of hope and optimism, Andy shares candid insights into his musical process and personal experiences. 

—

The Indie Distributor: Thanks for coming on. We’re doing a series of interviews with amazing musicians like yourself for The Indie Distributor. It’s a way to get to know the people behind the music and give you an opportunity to talk about your creative process. My name is Kevin. We’ve met before. I’m the lead singer of Shoemaker Levee and have been working with Russ and Val for a couple of years to promote indie artists. So, Andy, why don’t you introduce yourself and give us a little background on your focus?

Andy Du Rego: Yeah, I’m Andy Du Rego, a singer-songwriter. I front a solo project called Black Suit Devil that’s been going 10 years strong. I’m also the frontman of a psychedelic blues rock band called The Blues Emergency, which has been active since 2012.

The Indie Distributor: Great to meet you here, and thanks for the intro. I wanted to ask about the new record “The Eternal Sleep”. It seems to be the first full-length release since “A Matter of Time” in 2019. What changes have you made as an artist since then?

Andy Du Rego: I’ve expanded musically and technically. The album was written in a week during the lockdowns. All my tours got cancelled, so I reconnected with my electric guitar. People know me from Black Suit Devil, but I’ve always been a heavy metal guitar player. I wanted to improve my lead guitar chops and had the time to dive into it. The album took a darker approach due to everything going on, and the heavy sound complemented that. It was a very organic record and a snapshot of that period.

The Indie Distributor: That’s amazing. You touched on the dark aspect of it. There are a lot of hard truths in your lyrics, but there’s also an underpinning of hope. What do you want people to take away from the record?

Andy Du Rego: I’m an optimist. Despite the challenges in life, I believe we will prevail and that love will conquer. I didn’t want to leave a grim record. I believe we will see the light at the end of the tunnel. I infused hope in the songs, with uplifting guitar solos following dark sections.

The Indie Distributor: That’s great and makes sense. People need an outlet for their frustration but also need something that leads them forward. It’s important to have a positive mindset. So, some liner note details: Did you have session musicians on the record?

Andy Du Rego: On “A Matter of Time,” I had about 21 session musicians. For this record, I kept it simple with a three-piece: myself, John Brand on bass, and Vic Freitas on drums. We recorded during the lockdowns, experimenting with different drum kits and mic placements. It was the best recording experience I’ve ever had.

The Indie Distributor: Wow, that sounds amazing. Having the freedom to explore different aspects must have been great. So, what’s your favourite track on the record?

Andy Du Rego: It bounces back and forth. “Passage” was the first song I wrote and connected with. “Buried and Used” was another one. I was unsure of it at first because it was a drastic change, diving into grungier metal roots. I almost didn’t put it on the record but decided to make it the first track to signal the change.

The Indie Distributor: It’s an opus, almost an eight-minute song with a lot of twists and turns. I enjoyed it. Who are your main influences for this record?

Andy Du Rego:  Lenny Kravitz, Alice in Chains, STP, Metallica, Maiden. You can hear influences in different tracks. I’m a huge Metallica fan and have always felt connected to the recording process. During the lockdowns, I took a lot of online studio sessions to improve my skills.

The Indie Distributor: That’s fascinating. What’s next for you? Any upcoming shows or promotions?

Andy Du Rego: I’m doing a CD release party on Saturday at South Shore Bar and Grill in Etobicoke with a full band. After that, I’m hitting the road for a month, doing a cross-Canada tour. I’ll be part of the Dog Patch Music Festival in Saskatchewan and have many shows lined up.

The Indie Distributor:  That’s amazing. All the best for the release party and the tour. Thanks for joining me and sharing your insights. Looking forward to seeing more from you soon.

Andy Du Rego: Thanks for doing this. Appreciate it. Looking forward to Gusapolooza this year and seeing you guys there.

The Indie Distributor: We’ll be there. Take care, brother!

Andy Du Rego: Take care!

The Human Drive: The Beginning of an ERA | END

on By
The Human Drive album playing on a record player

The Indie Distributor got a chance to have a great conversation with The Human Drive’s Josh Wareham (lead vocals and bass guitar) about their latest release, “ERA | END”. We explore the inspiration behind the album, the impact of a founding member’s departure, and the creative process involving a new producer. 

We also touched on the challenges and rewards of integrating technology into their music, navigating the evolving music industry, and the balance between artistic integrity and audience expectations. 

The Indie Distributor: So I wanted to talk to you about your new release, which you’ve worked on steadfastly. We just wanted to dig into that a little bit and find out, what is the era that ended as a result of this release? What’s the meaning behind the title and the philosophy of how you approached the new release?

ERA | END – released May 29th, 2024

Josh Wareham: Our new release is aptly named “ERA | END” and it’s the last few songs in a collection of five we’ve been working on for the last couple of years. We call it “ERA | END” because our longtime guitar player, Adam Finney, one of the founding members of The Human Drive, chose to depart from the band a couple of months ago. It was a mutual decision; he’s a great guy and one of our best friends. We built this band together with him. However, the three of us—me, John, and Nick—always had more of a modern rock, progressive background, while Adam was more into classic rock. So, the name signifies the end of an era because Adam was an integral part of our sound. It’s bittersweet to have the songs out because of songs like “Break the Cycle, and “Mind and Body,” which fans and family have gravitated towards over the years. Finally having them out was a long time coming.

The Indie Distributor: According to Daniel Ek, at least it costs nothing, right?

Josh Wareham: (laughs) Obviously, on the backend, it takes a lot to release a song and get it to the point where you’re happy to share it and not completely sick of it. We hooked up with a new producer, Luc Chiasson https://www.lucchiasson.com/ He helped us breathe new life into these songs. At first, we were sitting on them for a year, not so stoked about them, but Luc helped us give the songs their proper due. We’re really stoked about the way they ended up, and it’s a full-circle moment for us.

The Indie Distributor: When in the cycle did you decide to bring a producer into the mix?

Josh Wareham: It came largely from our first EP in 2018, which we did mostly ourselves with some friends of Nick, our drummer. They started a production company called Line One. It was cool to work with friends, bounce ideas off each other, and have that open-mindedness to production. With our new material, we wanted to see what a producer could do for us. The other guys were on the fence, but once we met Luc, it was clear he understood what we were going for. It was the right move to make, and finally, we have someone on the same page as us.

The Indie Distributor: There’s often a reluctance to work with a producer because of the fear of giving away creative control. How did you find that process?

Josh Wareham: With “ERA | END” and “Break the Cycle” and “Mind and Body,” we came to Luc with a 95% finished product, and he made some suggestions that breathed new life into the songs. Starting from the ground up with new material was different. At first, it was hard to adjust to someone else’s suggestions, but we learned to digest the ideas, talk them over, and try them out. It’s about compromise and working together to create the best possible music. It’s not about giving up creative control but enhancing the final product.

The Indie Distributor: How has the technical process of your studio work evolved with this new set compared to earlier releases?

Josh Wareham: We’re leaning more into our influences and who we’ve always wanted to be. It’s about doing something well and building upon it. We’ve learned not to get too married to songs and to keep creating more. It’s about consistently putting in the work and evolving as a band.

The Indie Distributor: There’s a lot of push and pull as musicians, balancing the day job with the creative process. Finding your audience is also crucial. How do you navigate this?

Josh Wareham: It’s about focusing on the people who appreciate your sound and not diluting your music to appeal to a wider audience. It’s about creating something that resonates with you as an artist and finding that microcosm of people who support it.

The Indie Distributor: Tell me about Pyra Records. Is that your label?

Josh Wareham: We go through DistroKid, which allows you to create your own label name if you don’t have one. Pyra Records is almost like a solo persona I’ve messed with before. It’s not an actual label but something we use for our releases.

The Indie Distributor: What’s next for you? Are you focusing on new material or upcoming gigs?

Josh Wareham: We’re mainly focusing on new material and integrating more technology into our live shows. We’ve started using backing tracks, which at first was a bit weird, but now we wish we did it years ago. It adds new elements like synths that we couldn’t do before. We’re embracing the technology while keeping the organic feel of our music.

The Indie Distributor: How do you balance using technology without losing the human element of your performance?

Josh Wareham: It’s about using technology to enhance the performance, not replace it. We still want to give a great live show even if the laptop crashes. Technology should be an addition, not a crutch.

The Indie Distributor: Thank you for taking the time to chat. I’m looking forward to your next set of songs and seeing you at Gussapolooza 2024!

Josh Wareham: Likewise, we have some exciting stuff coming up, and you’ll be one of the first we contact. Thanks for the support!

Jeff Gutteridge: Dark Country – The Making of A Solo Record

on By

We recently caught up with Jeff Gutteridge, an indie musician from Lindsay Ontario known for his work with “Looking for Heather” and his recent journey into making his first solo record “Dark Country”. In this interview, Jeff shares insights into his creative process, the journey of selecting songs for his solo record, and the challenges of balancing band dynamics with personal expression. He also discusses the intricacies of recording, producing, and promoting his music, offering valuable advice for fellow indie artists.

Indie Distributor: Thanks for jumping on. The whole point of this is to get a deeper insight from indie musicians about their experiences in the recording process and the creative process in general. What can we learn collaboratively from these experiences as individual musicians and as part of a band? Clearly, you’ve released a new record, so I wanted to ask a couple of questions about that. What was the thought process behind selecting the songs that went on the record, knowing you’re in “Looking for Heather” but also working on a solo project?

Jeff Gutteridge released Dark Country in February 2024

Jeff Gutteridge: Well, it started about a year ago when Jay and I, my partner in “Looking for Heather,” were working on new material for that project. We determined what was going to make up the record that we have coming out later this year or early next year. There were a bunch of songs left over that I liked, which we decided wouldn’t make it to the next “Looking for Heather” project. But I felt they still had merit. I don’t want people to think of them as leftover songs; they just weren’t a good fit for the “Looking for Heather” project. Jay and I both agreed I should record them, similar to his solo project. So, that’s what it stemmed from—collaborating on “Looking for Heather” leads to solo records because, why not? We have the songs, and someone might like them.

Indie Distributor: Yeah, no, absolutely. The record is great. One thing I sometimes get asked about solo work is how you decide what fits or doesn’t fit. I know it might be a hard question to answer.

Jeff Gutteridge: No, it’s very true. When we were putting the “Looking for Heather” record together, we had a specific sound in mind. The songs just didn’t fit. It’s harder for me than it is for Jay because he doesn’t sing in the band much. He does backup vocals and occasionally lead vocals. Being the singer and songwriter, people might think the solo work sounds like “Looking for Heather” anyway. Naturally, it’s going to do that because it’s coming from the same voice. But I tried to do different things with this record to make it distinct from a “Looking for Heather” album.

Indie Distributor: Do you find that lyrically, the solo songs fit more with what you’d prefer as your solo statement rather than a band statement?

Jeff Gutteridge: Yeah, that’s a big piece of it. I tried to write these songs differently from what I’d do with “Looking for Heather.” With the band, there’s more collaboration and input from the other members. With the solo project, it’s exactly how I want to do it, without filtering through other opinions.

Indie Distributor: So, are the musicians working with you on the solo record the same as those in the band?

Jeff Gutteridge: The solo record was played almost entirely by myself. I did all the drums, guitars, and vocals. I had a bass player come in because I don’t consider myself much of a bass player. It wasn’t Jay, not because he couldn’t do it, but because we didn’t want it to feel like another “Looking for Heather” project.

Indie Distributor: For sure. So, did you work with a producer, or was it mostly self-produced?

Jeff Gutteridge: It was all done by me. I have a studio in the house, and I’ve been doing this for almost 30 years. It doesn’t cost me anything, so I can just fly down to the studio and start recording whenever I want.

Indie Distributor: There’s sophistication in the production, which is impressive. Is this your first solo release in this way?

Jeff Gutteridge: Absolutely. I’ve never done a full solo record before. I did a single back in 2021, but the idea of a solo album has been there for a while. This was the right time to do it before we start working on the next “Looking for Heather” record.

Indie Distributor: Was there anything you would have done differently in the recording process, or did everything come together as you envisioned?

Jeff Gutteridge: I took a “less is more” approach with this album, trying to capture the vibe of a band playing live. There are some scrappy elements I might have cleaned up if it were a “Looking for Heather” album, but I wanted to keep it raw and real.

Indie Distributor: You shot a video for “Sometimes You Know the Truth.” Why that song, and what was the process like?

Jeff Gutteridge: That was the first single. I wanted to show that this is still a rock project. We shot the video in an empty field near my house, aiming for a desolate, desert-like vibe. Jay shot the video; he’s into production work and does all the “Looking for Heather” videos as well.

Indie Distributor: Who was the woman in the skull mask?

Jeff Gutteridge: That’s my kid. We have a history of them being in the videos, so it’s a tradition we carried on.

Indie Distributor: How are you promoting the record, and is your approach different from “Looking for Heather”?

Jeff Gutteridge: Probably the same, though I’m not putting as much effort into it as with “Looking for Heather.” I’m trying to play it live with a band and experimenting with vinyl. Prices are coming down, so I thought it was a good chance to try it. I used Precision Pressing in Toronto for the vinyl, and they were great to work with.

Indie Distributor: The vinyl isn’t standard black, right?

Jeff Gutteridge: No, it’s recycled vinyl, which creates a cool colour pattern. Each one is a little different, which I thought was neat.

Indie Distributor: Through this process, what advice would you have for indie artists looking to take the plunge and do their first project?

Jeff Gutteridge: Have a plan. Know your end goal and plan out your timeline. I sort of went through this blindly, but more planning would help—like a 30-day, 90-day, 6-month, and 12-month plan.

Indie Distributor: It’s consoling to hear that some decisions were made after the fact and that you didn’t have everything mapped out. Who did you use for distribution?

Jeff Gutteridge: I’ve always used CD Baby. They’ve been great to work with.

Indie Distributor: Thanks for sharing your experience. It’s a great record, and more people should hear it. Any upcoming shows you want to mention?

Jeff Gutteridge: The next show is in Peterborough at Erban on June 27th, 2024 with Nate Silva. We also have some shows planned for the fall, and I might do some solo acoustic shows in July and August.

Indie Distributor: Keep us posted on the dates. Thanks for your time, Jeff!

Jeff Gutteridge: Absolutely, man. I appreciate it. We’ll talk soon. Cheers.

En Passant: The Lookout Service Makes the Move to Full Album with “The Gambit”

on By
Album cover for The Lookout Service "The Gambit"

Dressed to the nines and delivering a sound that’s just as sharp, Toronto’s The Lookout Service has quickly carved out a space for themselves in Toronto’s rock scene. 

Stergios Kalochoridis and Robert Ragazzo—the dynamic duo behind the music—have been making waves since 2018 with their electrifying performances and a sound that’s both titanic and intensely personal. 

With Stergios on vocals and guitar, and Robert bringing the thunder on drums, they’ve become known for their ability to captivate audiences, weaving powerful lyrics with soaring riffs into a musical experience that demands attention.

Their recently released album “The Gambit” features a wide spectrum of their writing ability, and displays their sheer, raw talent that translates through the studio as thoroughly as their live performances. 

Recently, The Indie Distributor had the chance to sit down with Stergios to dive deeper into their latest record and what the journey to its creation has been like.

As a band, had you worked with other musicians or has it always been the two of you? Also, how long have you been creating together?

Stergios Kalochoridis: The Lookout Service was formed in 2018, while I was attending the University of Toronto studying International Relations. Needless to say I didn’t pursue my studies and started looking for people to play and write music with. After a couple years and lineup configurations, the band was solidified as a two-piece and we began gigging all around the city wherever we could, and continue to do so today. We got the “Lookout” for our name from a pickup line that old blues and rock and roll musicians used to yell before they would bust out into a ripping solo or rhythm section, and we added “Service” because we wanted to serve that rock power that those musicians pioneered. 

What’s the concept of the Gambit as it relates to your record? How does chess fit into the mix for your story?

SK: Since right around the time we started preparing for this record, Rob and I have enjoyed playing chess to pass the time before gigs. When it came time to start thinking of a name for the record, we thought that “The Gambit” would be a fitting title because it represents a chess move that requires sacrifice in order to get the upper hand and a better position. This record for us in many ways was a huge sacrifice, to try to get us a “better position” in our music scene. We have also stuck to a black and white aesthetic since the inception of the band, so it all seemed very fitting. 

Chess also appears as the theme in the video “Rough Around the Edges”—tell us about shooting that video.

SK: The Rough Around The Edges video concept came to us on the way back from a gig. We were brainstorming ideas for music videos and we already had the chess concept in mind. We thought it would be interesting to play a chess game where the pieces were not inanimate, and played by people. It would allow us to depict the emotions of the pieces, about the decisions made by the two kings – played by Rob and myself. We tried to recreate “The Immortal Game” – one of the most famous recorded chess games ever played (played in 1851) and it can also be found on the chess board on the cover of the album!

Did you end up working with Luc Chiasson for your singles as well as the full album?

SK: We recorded the entire album with Luc Chiasson back in January of 2023! Just goes to show how long we were prepping for the release!

Left to Right – Robert Ragazzo and Stergios Kalochoridis of The Lookout Service

Was this your first time working with a producer for your music? 

SK: We’ve actually always worked with a producer to record our music. Rob and I both never really got into recording our own music. Working with Luc is always exciting and new, and we like to try new things to keep the creative process as open as possible. 

What are some of your favourite stories from the recording process?

SK: In the month that it took to record the album, we had a lot of fun in the studio. We got to rent out the entire studio for the month and could come and go as we pleased, stopping and picking up whenever we wanted to. We laid down all the drums first, then guitars and finally vocals. We had a bit of a hiccup towards the end of recording the album when Luc’s interface just completely died, and he had to go and completely rewire a new one in. We managed to get it done though! 

Was there a piece of equipment, old or new, that became the MVP during the recording process? How did it influence the sound of the album?

SK: My main 2017 Tele is featured on pretty much every song. Like most guitarists, everyone has their number 1, and for me that guitar just sounds the best. I love Big Muffs for fuzz tones and an OCD (Fulltone) for dirty overdrive, but the one pedal that opened up some cool new avenues for me to explore on this record was the Danelectro Backtalk pedal – a reverse delay. I used it on the bridge of Daffazank and I Am The Dragon to add a dystopian vibe that I just couldn’t get from regular delay pedals. 

So far, you have released a series of singles, and this time you went full album. What was the thought process behind that decision?

SK: Looking back I think we wanted to release an album so we could finally have a big body of work out publically for people to go and listen to. We chose to do four singles over four months – to create hype around the album before its release. I would’ve maybe even spread the singles out a bit further in hindsight, but that’s something maybe worth looking into for the next body of work. 

How are you monetizing the record?

SK: Selling vinyls!! Old school baby!

What advice do you have for other indie musicians out there who are in the recording process?

SK: Get yourself a good producer, it’s better than trying to record yourself and not getting your ideas across. It’s scary creatively and financially, but it’s totally worth it. Whatever you do, just make sure that you are consistently giving it your best.

Info about the Gambit album, tour and tickets can be found on their website http://thelookoutservice.com/

Crowdfunding Your Music Project: Tips and Best Practices

on By

Have you ever considered crowdfunding your artistic project? The prospect can be daunting as an artist- not only for the technical learning curve but for perhaps the more significant hurdle: being an artist and asking for help. 

Erin Blackstock, an independent artist, faced a similar challenge when she decided to crowdfund her upcoming record. 

The Indie Distributor wanted to explore Erin’s journey and how she overcame her reservations to seek help, harness the power of community support, and create a quality album reflective of her passion for music. 

“I hate asking for help.”

Initially resistant to the idea of crowdfunding, as Blackstock admits, “I hate asking for help,” the encouragement from her producer, Joel, led her to embrace crowdfunding as a necessary step towards getting the right funding for her project. 

Even though Erin was hesitant to ask for money knowing well the many urgent needs out there, her commitment to her music and trust in the community’s kindness to back true artistry gave her the nudge she needed to reach out.

Blackstock’s goal was clear: to create a quality album reflective of her dedication and passion for music. The response, though only meeting half of her financial target, was overwhelmingly positive.

The Indie Distributor: How did you decide how much you needed and what you were going to fund? 

Erin Blackstock: I just thought of it as a whole, like, you know, six songs $2500 a song, and then I just based it upon that. The $2500 would include the production fee, mixing mastering transportation, etc. Not every producer has the same price. You have to figure out the actual amount that it’s going to cost and go from there. I could have asked for $30,000, the limit is up to you. But it has to be realistic and has to be something that people believe in. I included the whole breakdown of where the money would go in the actual campaign, just to give supporters a clear idea of where the money would go. 

Singer/Songwriter Erin Blackstock performing live

The Indie Distributor: What made you decide on the platform you ended up using?

Erin Blackstock: I went with Indiegogo because it gives you the flexibility to set your funding limit at any amount. Even if you don’t reach that limit, you still get to keep the donations you received. On the other hand, Kickstarter requires you to set a specific funding goal, and if you don’t reach it, you won’t receive any money. GoFundMe works similarly to Indiegogo in that regard. However, Indiegogo offers additional options such as perks and packages that people can buy instead of just donating.

The Indie Distributor: I remember your campaign included different tiers of donation, and for some donations, you gave out rewards.

Erin Blackstock: Yeah I offered various perks. For a $60 donation, supporters would receive a mini merch bundle, including a hat, a t-shirt, and a CD. A big reward was a solo one-hour house concert for $500. I also created two string art options; one featuring my logo and another with a guitar face. Indiegogo also provided an option for people who wanted to contribute any amount without selecting a package, starting from $10.

The Indie Distributor: How did you get the word out about the campaign to your supporters?

Erin Blackstock: I did a video expressing my need for support, highlighting how difficult it was for me to ask for help. Being open about my vulnerabilities and insecurities, I talked about the importance of community support to continue my work. This video was shared across all my social media platforms, and my website, and attached to my newsletter sent to my email list.

The Indie Distributor: Did you have a promotional plan mapped out, or was it more organic?

Erin Blackstock: I’ve never been one to stick to a plan, so promoting my crowdfunding campaign was pretty much a day-by-day thing. It was a mix of sharing, maybe oversharing at times. Honestly, just thinking about starting the campaign made me cringe. I’m not a fan of this part of the process. But Joel, my producer, convinced me it was worth a shot, mentioning other artists who’ve succeeded this way. While I wouldn’t call it a massive success, it did bring in some extra funds for the album. Putting myself out there was tough, and I’m still a bit embarrassed about it, but being vulnerable and using every platform available, despite the cringe, was important.

The Indie Distributor: If you’re talking to other artists about getting into a crowdfunding campaign, what advice would you give them?

Erin Blackstock: Setting realistic goals is key. Don’t ask for more than you need. It’s all about knowing exactly what you’re going to use the money for. And the perks, make them doable. Like, a friend of mine offered a ceramic mug made by a local artist along with her CD. I didn’t go that route this time around, but looking back, collaborating with local artists could’ve added so much value, not just to the campaign but also it would have helped their business. It’s a win-win. Gets them more exposure and supports local talent. If I ever do another campaign, I’m definitely including other locals in it.

Community, Not Cash

Erin’s adventure into crowdfunding was much more than just drumming up some cash; it was about feeling that genuine bond with her fans and the wider community. It’s clear from her story that crowdfunding isn’t just a lifeline for indie artists; it’s a chance to connect, share the love for music, and show that with a bit of grit and a lot of heart, you can reach your goals in today’s music scene. 

Erin puts it simply: music is her true love. That raw honesty and passion? It’s what makes her journey so relatable and truly inspiring, reminding us all about the magic that happens when artists and their communities come together.

Check out Erin Blackstock’s original music via these links: 

www.blackstockpro.com

www.facebook.com/erinblackstockmusic

www.instagram.com/ekblackstockmusic

https://linktr.ee/erinblackstock

If you want The Indie Distributor to write about a topic, please send us an email to kevin@gussapolooza.com 

Don’t forget to sign up for our email newsletter for more content like this!
P.S. Gussapolooza, the premier event in Ontario for live indie musicians also includes seminars and educational topics. We’d love to see you there! Here’s where you can register.

Note: This interview was conducted by a human, and the article was written by a human. Software was used to transcribe the interview and AI was used to check spelling and grammar. The photos are authentic and taken by a human.

Navigating Music Copyright Laws: A Beginner’s Guide

on By

By the time an artist comes to talk to a lawyer, it’s usually already too late.

As an artist, it’s sometimes painful to think about having to work the business side of things. After all, we only have so much available time in the day, and we need to focus on our creative output; our “product”. 

However, consider the potential time we lose if we don’t have important business aspects figured out. There are countless stories of artists who turned a blind eye to the fine print, and it ended up costing them dearly down the line. Some research in the short term can keep you from experiencing big problems later.

In today’s world, where digital distribution and AI are changing the way everything works, it is crucial to have a keen handle on the basics of business. Knowing how copyright works when it comes to artistic works will give you a keen edge as you continue to hone your craft and release more projects. 

What is Copyright in Music?

In music, copyright can be defined as “a legal right granted to the creator of an original musical work”. This breaks down into multiple subcategories because copyright can apply to the lyrics of a song, the music in a song, and the reproduction and distribution of the work… it can get complex very quickly. 

To keep this article simple, we’re going to zero in on how copyright applies to the independent artist (unsigned) and what foundational plans you need to have in place as you’re preparing to take over the world with your music. 

As an independent artist who writes original material, you will want to ensure that you have copyrighted your works before you publish or distribute anything online. That means securing appropriate copyright for your lyrics, your song melody and arrangement. 

In Ontario, copyright in music is automatically established upon the creation of an original work, such as a recording or written music score. This means that the moment you create a piece of music and record it or write it down, it’s already protected under copyright law. However, while not mandatory, registering your copyright with the government provides certain legal advantages, such as proof of ownership in case of infringement and the ability to seek certain monetary remedies in court proceedings. This can be done through the Canadian Intellectual Property Office (CIPO).

Is Registered Mail A Good Method to Copyright My Music? 

You have probably heard of the method of handling copyright by sending yourself a copy of your works on disk or cassette (what’s that?!) via registered mail. This, often referred to as the “Poor Person’s Copyright,” is a commonly used method among songwriters. The idea is to have a dated and sealed envelope with your work inside, which can act as evidence of the creation date in case of a dispute. 

However, it’s important to note that while this method has been considered reliable and has been held up in court, it is not a formal method of copyright registration and may not offer the same level of legal protection as government registration.

Your best bet is to register the work through an organization like CIPO, even though it comes at a cost. It’s one of those “better safe than sorry” situations if anyone comes forward with an infringement claim against your work. 

How Long Does the Copyright Last? 

In Canada, the duration of copyright protection depends on the type of work and the life of the author. For musical works, copyright typically lasts for the life of the author plus 50 years following the end of the calendar year in which the author dies. This means that the protection will expire on December 31st the 50th year after the author’s death. 

Rights of a Copyright Holder

So as a copyright holder, what rights do you have? This gets into discussing the nuances of derivative works, and licensing. 

Derivative works refer to new, original work that includes or is based on previously existing work. In music, this can include arrangements, remixes, or adaptations of a song. Throughout history, you’ve likely heard of some of the more famous instances of derivative works used without permission. Arguably one of the more stark instances of this would be the use of the intro to “Under Pressure” in the Vanilla Ice song “Ice Ice Baby”. Ultimately, Vanilla Ice opted to purchase the rights and settle out of court, but he should certainly have asked for permission before using the sample. Tsk tsk. 

To create a derivative work legally, one usually needs permission from the copyright holder of the original work. This is because creating a derivative work often involves modifying, transforming, or building upon the original work, which falls under the exclusive rights of the copyright holder. Examples of this would be remixes, adaptations, samples, etc. 

Licensing, on the other hand, refers to the process where the copyright holder grants permission to another party to use the copyrighted work under specific terms and conditions. Several different types of licenses can be granted for the use of your work, and the advantage is that you as the original creator get to determine the use and scope of how the work is used. 

Some examples of licenses include: 

  • Mechanical License: For reproducing a musical work in a sound recording.
  • Synchronization License: For using music in sync with visual media, like movies or TV.
  • Performance License: For playing music publicly, such as in concerts or over the radio.
  • Print Rights License: For printing the lyrics or music of a song.

Understanding Fair Use

Fair use is a legal doctrine that allows limited use of copyrighted material without requiring permission from the rights holders. 

When it comes to using music, there are certain situations where it’s considered fair use. For example, if you’re using a song for criticism, commentary, news reporting, teaching, scholarship, or research purposes. However, whether or not it falls under fair use is determined by various factors. These include things like whether the use is commercial or educational, the nature of the original work, how much of it is being used, and how it could potentially affect the market for the original work. Each case of fair use is unique and assessed individually. 

Some examples of fair use can include: 

  • Parody: A comedic or critical adaptation of a song (like Weird Al Yankovic’s works. Also, he’s amazing).
  • Sampling for Educational Purposes: Using small parts of a song in a classroom setting to illustrate a musical point or technique.
  • Music Reviews: Including short clips of a song in a review or critique.
  • Research and Scholarship: Using music clips in academic research or presentations.
  • News Reporting: Briefly playing a song in a news segment relevant to the story.

Copyright Infringement and Consequences

The legal and financial consequences of copyright infringement can be significant. 

They include:

  • Legal Action: The copyright holder may file a lawsuit, leading to a court case.
  • Damages and Compensation: If found guilty, the infringer may be required to pay statutory damages, which can be substantial, or actual damages and profits.
  • Injunctions: The court may issue an order to stop the infringing activity.
  • Legal Costs: The infringer might have to pay the legal fees of both parties.
  • Criminal Charges: In severe cases, especially willful infringement for profit, it can lead to criminal charges and penalties, including fines and imprisonment.

If you feel as though your copyright has been infringed upon, several steps could be taken: 

  • Document the Infringement: Keep records of the infringing material and how it is being used.
  • Contact the Infringer: Reach out to the infringer informally to request they stop the unauthorized use.
  • Send a Formal Cease and Desist Letter: If informal contact doesn’t work, a formal letter may be necessary.
  • Consider Legal Advice: Consult with a copyright attorney to understand your rights and options.
  • File a Copyright Infringement Lawsuit: If necessary, legal action can be taken to enforce your rights.

To summarize, understanding the basics of copyright law is crucial for any independent artist looking to make a name for themselves in the music industry. Registering your copyrighted works with the government provides legal protection and peace of mind, and it’s important to obtain permission from the copyright holder before creating any derivative works. 

By taking the time to understand these foundational elements of music copyright law, artists can avoid potential legal issues and focus on creating their best work. Remember, knowledge is power, and in today’s ever-changing digital landscape, it’s more important than ever to stay informed.

Resources: 

Canadian Intellectual Property Office (CIPO): CIPO – Copyrights – Offers comprehensive information on copyright laws, registration processes, and FAQs.

SOCAN (Society of Composers, Authors and Music Publishers of Canada): SOCAN – Provides insights into music licensing and royalties in Canada.

CONNECT Music Licensing: CONNECT Music Licensing – Helps artists understand the licensing of music recordings.

Music Canada: Music Canada is a trade organization that provides information on music rights and advocacy.

If you want The Indie Distributor to write about a topic, please send us an email to kevin@gussapolooza.com

Don’t forget to sign up for our email newsletter for more content like this!

P.S. Gussapolooza, the premier event in Ontario for live indie musicians also includes seminars and educational topics. We’d love to see you there! Here’s where you can register.

Note: This article was written by a human. AI was used to check spelling and grammar. The images are AI-generated.