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Near the end of 2021, I ran a survey asking indie musicians two basic things:

1. How much money they expected to make this year, and…
2. How they expected to make it.

(For the rationale behind why this information matters – and why it’s surprisingly hard to find – check out this article introducing the concept of the survey.)

Well, the results are in, and they’re pretty darn interesting – but not all that unexpected.

But before I dig into the data, I want to offer some context.

These numbers should absolutely not be taken as set-in-stone representations of the state of the indie music economy in 2021 as a whole. And the reason for that is simple: The sample size for this survey sucks.

I’m working off of 25 responses.

I’m no statistician, but I can tell you that 25 respondents can’t possibly be representative of the ~700K people who qualify themselves as indie musicians in the US census (much less the who-knows-how-many musicians around the world).

To be honest, I was pretty disappointed to only get 25 responses; I was optimistically (naively) hoping for more like 200.

And I probably shouldn’t tell you this, but as I was putting this article together, I actually thought about glazing over the sample size and just sharing the stats without disclosing the number of respondents. Fortunately for my soul and your sake, I quickly realized that’d be a morally awful thing to do. If you’re going to look at this data, you should know what it represents.

So, here’s what it represents: income estimates from 25 artists who are on my email list and are awesome for sharing their info.

Most artists on my email list are not at the top-income-tier of the indie music game; they’re people who are trying to grow their careers (and are often in the early stages of doing so). As a result, the segment is almost certainly skewed toward the lower end of the income spectrum.

Every one of the respondents was unsigned, and they represented a wide array of genres that covers pretty much every nook in the industry (as seen in the image below):

Nine respondents are international artists (from Canada, Norway, Belgium, Sweden, Malaysia, and the UK); the other 16 are based in the US.

So, this data is almost certainly not representative of the population as a whole – but it is a collection of 25 passionate indie musicians sharing their real-life-income information. In other words…

I think this data is the basis for some pretty interesting anecdotal insights.

Okay – with all of that said, let’s dive into the numbers. Based on this survey:

The average indie musician makes $5,750 per year.

That’s not much at all. But, sadly enough, it probably overstates the reality for most musicians.

If you take the median from the responses, you’re looking at ~$2,500. That’s because the average is heavily offset by the few artists who earn more $30K from their music (only three out of the 25).

The following graph offers a fuller representation of the numbers:

Is all of this a little bit sad? You bet. But it kind of underscores what I’ve been telling people for a while: If your primary goal is to make money, you should not be an indie musician. There are like a million other things that have far more earning potential.

It’s only worth being an indie musician if your primary goal is to make music.

Okay, let’s break things down a little further and look at how musicians are earning an income.

This is where things get even more interesting.

In my survey, I asked “How are you creating income?” and listed seven potential income streams, plus an open-ended “Other” option:

• Streaming royalties
• Merch sales
• Touring
• Live performances
• Teaching
• Fan fundraising / membership (Kickstarter, Patreon, etc.)
• Compositions (includes sync licensing)
• Other

As it turns out, virtually everyone (77% of respondents) is generating revenue from streaming:

But the people who report “Streaming Royalties” as their top income stream are making pennies. Check this out:

In other words, if you’re considering how you can drive more revenue from your art, the answer is almost definitely not to drive more streams.

Streams are clearly a piece of the revenue puzzle for almost everyone – but if you rely on them as your main source of revenue, it seems likely that you’ll have a hard time making any meaningful amount of money.

Instead, if you want to make money from your music, you should almost certainly focus on one of these income streams:

1. Live performances / touring
2. Compositions (i.e. sync licensing)
3. Teaching

Here’s why:

For that graph above, I looked at only respondents who expect to make more than $1K per year from their music. Out of those eight people (such a small number!), four are driving the most income with live performances / touring. One of the eight is making the most from compositions, and the final three record teaching as their primary income stream.

Interesting note here: My two highest-earning respondents each expect to make $40,000 in 2021.

One of those artists expects teaching to be their top income stream – and expects it to account for nearly all of their income. The other artist expects compositions to be their top income stream, and expects that stream to make up about half of their overall income.

One potential takeaway is that teaching may be harder to supplement with other income streams (like touring, streaming, etc.) compared to compositions. It’s easy to rationalize why that’d be the case, but given we’re only talking about two people, it’s a mostly anecdotal insight.

And, speaking of anecdotal insights, that leads me to my last stat spotlight: fan fundraising / membership income.

Only two people recorded “fan fundraising / membership” as their top income stream, and their average expected income from fan fundraising / membership was only $1K.

I was slightly disappointed by this, because I, like most music marketers, am a proponent of the “get 1,000 fans” concept.

The idea is that, if you have 1,000 fans paying you $100 each every year, you have a sustainable career. (As I’ve argued before, I actually think that math tends to be unrealistic, but I think the underlying principle is solid.)

But the data would seem to throw a wet blanket over the idea that you can create a profitable fan community solely through fundraising or membership. While the idea is pretty appealing, it appears most artists aren’t successfully building careers on something like Patreon (a fact that checks out when you look at the top Patreon earners in the category of “Music”.)

Don’t worry, though – the “true fans” concept isn’t dead. While you probably won’t build a sustainable income solely on the basis of a fan membership community, you absolutely can build a sustainable income by creating multiple income streams – i.e., opportunities for your fans to pay for live performances, merch, other stuff, and exclusive membership.

You can’t just create a Patreon and “make it”; you have to set up other ways fans can support you, too.

And that’s really the overall takeaway here: If you want to quit your day job, you have a lot of work to do.

You won’t be doing it alone. The census reports that there are more than 700,000 working musicians, but Statista reports that only 1,560 are full-time. If you take those numbers to be even close to accurate, then for 99% of musicians, music is not a full-time gig.

That doesn’t mean it can’t be for you. But it does mean that you’ll have to be intentional if you want to create a sustainable career.

Hopefully, this anecdotal data is helpful in giving you viable directions to pursue. Whatever path you choose, here’s to making money with your music in 2022 – and, more importantly, here’s to making beautiful music.

Helpful References and Additional Research

I referenced these articles as I was working on the survey – definitely worth checking out if you want a wider view of the market / more data.

• Future of Music (for information about how indie musicians are qualified – these guys are my favorite source but the data is really outdated)
• Statista (for demographic information on the different categories of working musicians)
• MIDiA Research (for information on Spotify earnings for indie musicians)
• Music Industry How To (for helpful commentary on some of the most-cited studies)

Questions about the Artist Income Survey? Let me know here. Want to see the raw data? Here’s the Google sheet of responses.

The post How Do Musicians Make Money? And How Much Do Musicians Make? appeared first on Two Story Melody.

My call with Todd McCarty didn’t go as planned.

And not in the good, “wow-what-an-awesome-rabbit-trail-we-ended-up-on!” kind of way.

Keep reading if you want the backstory. Click here if you’d rather get to the main stuff.

Backstory:

I found Todd online a few years ago (probably by Googling some question I had about Spotify) and was immediately impressed by his detailed knowledge of the music industry. In addition to good hair, Todd has the gift of being able to explain pretty complicated concepts in pretty straightforward terms. Check it out:

When I read his bio, that ability made sense; Todd was the general manager at Fearless Records for over a decade and then a senior VP at Sony Music USA. Impressive resume, right? Basically, he’s got a ton of experience and he’s also a smart guy.

So I was pumped when he agreed to chat with me about his indie-education-focused project, Band Builder Academy.

At first, everything went swimmingly. We found a time that worked for the call with surprising ease (given that we live on opposite sides of the world). We confirmed the meeting day-of. We logged seamlessly onto Google Meet.

And then everything went wrong.

First, I realized as we got started you can’t record calls on the basic version of Google Meet – and I was planning on having the audio transcribed so that I could write this article. So, we decided to switch to Zoom. The recording button was familiarly placed there, but when we hung up after an hour-plus of good conversation, this happened:

Technology is the worst.

Todd spent like 45 minutes trying to figure out how to fix that error, but, long-story-short, he couldn’t. Moral of the story: I should’ve taken better notes.

But here we are. The good news is that I did take some notes, and Todd’s reviewed this article to make sure I’m accurately representing things. While I can’t present Todd’s content in a quoted, Q&A format (like I’d originally planned), I’m going to touch on the things he shared that resonated with me – and hopefully give you an insider’s look at Band Builder Academy and some tips to succeed as an indie musician in the process.

With all that said, let’s get to the main stuff. While there’s no longer any audiovisual proof of it, here’s some of what Todd and I talked about.

The main stuff:

1. The big labels aren’t all bad (because the music business is ultimately about people).

I started off by asking Todd to compare his experience at big labels with his experience working with indie musicians, and I was a little surprised by where he took the question.

The first thing he noted was that big labels aren’t all bad.

There’s a tendency in the indie community to vilify major music industry organizations like Sony, Universal, Kobalt, and the like – and it’s understandable. First, labels haven’t always treated their artists well (Todd mentioned that one of the key changes he’d like to see at labels is more equitable pay for artists). And, second, as an indie, it’s easy to be envious of the resources major labels have. The playing field doesn’t feel fair, which naturally leads to a bit of dislike.

But Todd was careful to note that any organization is ultimately made good or bad by its people. And, in his experience, there are a ton of good people working at major labels who are trying to do great work for artists, while there are also plenty of people working at indie labels who kind of suck.

Takeaway:

Ha, I’m not sure if there’s any actionable takeaway here – maybe just a general reminder to reserve judgement. But this really stuck with me, so I wanted to share it.

2. Direct-to-fan marketing is still an indie advantage.

After Todd convinced me that I needed to get off my high horse and stop hating big labels, he told me that there are pretty notable differences between working with signed and indie artists.

The crux of it is that big labels are still driven by big numbers.

This makes sense; labels need to have hits if they want to stay in business, and hits happen when you get a bazillion streams and sell a bazillion records, and you don’t get those numbers by talking to individuals one-on-one.

But the downsides of hit-seeking are two-fold:

• You get caught chasing numbers instead of making good art (very lame), and…
• You tend to focus on broad, big-data marketing instead of personalized marketing (which ultimately can build deeper fan relationships).

Todd told me that, if he were still working at a major label, he’d push to bring in “stealth” and “guerrilla” marketing tactics – stuff like retargeting ads, social media engagement, and personalized email list building. Big labels often push straight to high-level promo, like radio play or major press campaigns.

Takeaway:

It’s still an advantage for indies to market direct-to-fans.

3. It usually takes five to seven years to “make it” as an indie artist.

I asked Todd what the standard timeframe was for artists to actually make it (meaning, create a sustainable career from their music). I loved his answer:

To create a sustainable career around your music – to the point where you can quit your day job and focus on your artistry – usually takes five to seven years.

Yeah, you’ll see stars made seemingly overnight, but Todd told me that if you dig into backstories, you’ll usually find that the people who went viral were working to do so for years. Building a band is a marathon; it’s the process of pushing a snowball and getting steady growth.

Takeaway:

You should probably only pursue artistry if you really love it. If you’re looking to be famous and rich right away, a) probably reevaluate your goals and b) being an indie artist is not a shortcut. Successful artistry is a long game.

4. The path to sustainable artistry is easier with the right support.

Todd told me that the reason he left Sony was because what he loved most about the music industry was working with rising artists to build meaningful success, and he felt like he wasn’t able to do that as often as he wanted to at a big label. He realized that too many indie artists were stuck in their journey – they felt ignored by Spotify and Apple Music, they struggled to get followers to turn into fans, and they rarely felt momentum building (even after album releases).

So, he built a community to help – Band Builder Academy.

Based on my understanding (and admittedly subpar notes), there are three pretty incredible benefits that Band Builder Academy provides to indie artists:

1. Detailed information and educational resources on basically every important music business thing.

First, Todd offers a 10-stage roadmap to building a career as a band or artist. It starts with branding (positioning your artistry to resonate with your ideal audience), then moves to marketing and monetization. There are more than 60 video lessons on this stuff.

Second, the academy includes access to Todd’s Spotify Course so that you can generate real growth on the platform. (And based on our conversation, I’d say that if you want to learn Spotify promo, there’s nobody better to learn it from than Todd.)

Finally, new material’s being added all the time on the topics that are most important to Band Builder members.

2. Support from an engaged community of artists – and from Todd.

Todd mentioned that the development of a strong community is one of the most important keys to succeeding as an artist. It’s way easier to move forward in your career when you have others who can hold you accountable to your goals and offer insight and support to help you get over your obstacles.

The Band Builder community is, in Todd’s words, “A supportive and active community of smart artists at all levels and genres.”

Plus, every Band Builder member gets a one-on-one call with Todd.

Access to that kind of support is pretty cool – and definitely helpful if you’ve been struggling to go it alone.

3. Access to exclusive tools and opportunities.

And, finally, Band Builder Academy provides access to a treasure chest of awesome tools, templates, and opportunities.

That includes chances to hear from industry bigwigs (like Instagram’s Head of Strategic Partnerships, Sunil Singhvi). It also includes tactical things like lists of promo tactic ideas, contact spreadsheets, templates for pitches, bios, and even full marketing campaigns.

I think Todd actually undersells the value of all this stuff. If you’ve been struggling to run a press or ad campaign, these kinds of resources are gold.

And I didn’t mention the one I think is the coolest, because I think it deserves its own section. More on that in a second.

Takeaway:

If you want to move your career forward as an artist / band, this is a proven path to follow. It’ll give you a ton of awesome support and access to legitimately impactful resources.

5. Todd’s built a proprietary Spotify web app that lets artists see exactly where they sit in Spotify genre rankings.

Okay, I think the coolest tool Band Builder members get access to is one that Todd built himself. It’s a Spotify web app. It’s very helpful. Here’s the idea:

Spotify has 4,000+ genre niches that it uses to categorize artists.

Your music fits into this array of niches somewhere. Todd’s app lets you pinpoint that – like, you’ll see all of the sub-genres you’re being tagged in. But, better than that…

You can see all of the artists who rank at the top of your sub-genres.

This is a game-changer. Todd suggests that you go and research the artists who are ranking at the top of your genre. Once you see what kind of things they’re doing (the playlists they’re on, the press they’re getting, the social media strategies they’re using), you can incorporate similar strategies into your own marketing.

The result is that, with the right info, you’ll be able to move the needle and rise in the rankings to get more streams and followers.

Takeaway:

It’s much easier to succeed on Spotify when you know what the algorithm wants from you – and Todd’s tool helps you figure that out.

6. The democratization of music is only going to continue.

We’ve gotten into the weeds a bit; let’s take a step back to the big picture.

I asked Todd what he expected the future to hold for Band Builder Academy, and what he expected the future to hold for the music industry in general. His responses were related.

First, it’s obvious that Todd loves working directly with musicians – so, while he anticipates Band Builder Academy continuing to grow, he doesn’t expect that it’ll ever become something huge and bureaucratic. He’ll likely be personally involved with artists forever.

Second, he sees the music industry as a whole trending in some pretty interesting (and individual-empowering) directions. He mentioned NFTs and the power of blockchain as potential keys toward helping artists sell directly to fans. The tendency for consumers to buy music dipped a bit with the rise of streaming; Todd thinks that might change as blockchain technology becomes more common.

And he expects Band Builder Academy to provide a place where artists can learn and implement any new strategies that arise.

Takeaway:

The music landscape is constantly shifting. As more artists than ever get access to top-level recording and production capabilities, and as new technologies make direct-to-fan relationships easier and more profitable, the current shift might benefit indie artists.

7. Todd’s favorite band is Eastern Youth.

Yeah, I hadn’t heard of them either, but here they are. They’re a Japanese alt-rock-ish band that’s been around since 1989, and they’re a good answer to the question, “Who’s your favorite band?” because almost nobody is going to push back and say they suck.

Takeaway:

Todd has interesting taste.

Final thoughts

If you’re looking to learn more about music marketing, Todd is one of the top sources I’d recommend. Seriously, if you haven’t already, go watch one of his YouTube videos, and you’ll see why. I’m pretty sure the guy is a master at everything except properly saving a Zoom recording.

And if you’re interested in benefiting from Todd’s expertise at Band Builder Academy, go check that out here.

(It’s an affiliate link because it’s something I’m proud to be affiliated with. I’m very confident Todd can help you define your brand, market your music, grow a meaningful audience, and have a successful career.)

All right, that’s all I’ve got. I hope this interview was helpful, even without the quoted Q&A – and I hope, regardless of where you get your music marketing advice from, that you have success creating art that you love.

Good luck.

The post Music Business Insights from the Founder of Band Builder Academy appeared first on Two Story Melody.

Ready for an elevator pitch? Here’s a good one:

Custom songs that capture your personal stories and memories, created by a professional artist and delivered in a few days for only $199. The use cases are almost endless (Send a personalized song for a birthday present! Liven up staff meeting with a customized tune celebrating good work! ) and, for the people whom the songs are about, the first listen is almost always a “wow moment”.

Intriguing, right? That’s what Songfinch is.

(Fun fact: The co-founders wanted to pitch the concept on Shark Tank, but didn’t make the cut because their market was deemed too small / not lucrative enough. 20,000+ songs and tens of millions in revenue later, it turns out that wasn’t true.)

In my opinion, the consumer-facing side of Songfinch is a pretty easy sell. But to make the business model work, the company also needs a community of artists to actually write and record the songs that their customers request.

And that begs the question: Is joining Songfinch worth it for artists?

I had the chance to talk with Rob Lindquist, the COO and co-founder of the company. Based on our discussion and a bit of digging, here’s my short answer:

If you’re looking for extra income from your music and you have a few hours per week to spend, then it probably is.

There’s nuance to this, of course (keep reading for the details), but I came away from my conversation with Rob convinced that even if Songfinch doesn’t make sense for every artist, it probably does make sense for a lot of artists. To unpack why, let’s walk through what it looks like to work with Songfinch from the artist side.

Here’s a quick overview of what you can expect.

1. You apply for acceptance to Songfinch’s “Artist Community”.

First, it’s not guaranteed that you can work with Songfinch, even if you want to. To become a part Songfinch’s Artist Community, you have to apply through a process that’s relatively stringent. Rob estimates that around 40-50% of artists who apply get accepted; the flip side of that means most applicants get rejected.

This makes sense. Songfinch’s success depends on the community’s ability to produce quality songs, so they aren’t offering charitable support for acts that don’t quite cut it.

When you apply, you’ll be given a prompt and asked to deliver an original “test” song that you’ve written, recorded, and produced yourself.

Rob notes that publicly released songs often aren’t indicative of artists’ skills in self-production, which is why they don’t allow you to lean on your existing catalogue of music.

That brings up another thing worth noting: You don’t have to be Max Martin, but you do have to be able to record and produce your own songs to the point that the final mix, as Songfinch puts it, “does not distract from the listening experience.”

So, Songfinch is only a good fit for artists that do everything – songwriting, instrumentation, singing, and audio engineering / production.

2. You receive opportunities (prompts) to write songs for people.

Once you’re accepted into the Songfinch Artist Community, you’re eligible for song opportunities.

Songfinch controls the distribution of song requests, meaning that they specifically select the artist they feel is the best fit for each prompt. If you’re the artist that gets selected, you can confirm that you’ll take the opportunity and write the song. Or you can pass – although it’s recommended that, if you aren’t available to write for a given period of time, you mark your profile as inactive so you don’t slow down the system.

The closely managed distribution of opportunities is one of the things that sets Songfinch’s product apart.

Some of the company’s competitors use what Rob calls an “up-for-grabs model,” meaning that any artist in the system can bid on any opportunity. The problem with that model, Rob explains, is that the customer isn’t guaranteed to get the ideal artist for their song (which he calls “a potential disaster”).

The outcome of this, for artists, is that you’ll only get opportunities that the Songfinch team feels are a good fit for your skillset. While artists can write in multiple genres, the truth is that most artists are best suited in a few styles – so if you’re working in heavy metal, you probably aren’t going to get prompts for soft, singer-songwriter songs.

Rob says that, because of this reality, there are some niche-genre artists in the community that don’t get very many opportunities – but he clarifies that, on average, most artists get about three opportunities per week.

3. You write songs for people.

When you confirm that you’ll take an opportunity, you’ve got to get to work quickly; Songfinch has a 3-7-day turnaround from song submission to delivered song (which is pretty darn quick).

Your prompt will include details from the customer, like specific phrases, words, and ideas to incorporate into the lyrics, and tonal / sound direction. It’s your job as the Songfinch songwriter to craft and record a song that brings everything together.

Honestly, my initial thought on this was: “That would take a long time.” But a) I’m not a professional songwriter, b) the specifics of a prompt might speed things up, and c) Songfinch does allow artists to reuse production elements in multiple songs (so, if you have an upbeat acoustic instrumental track that would fit a birthday song, you can use it multiple times as long as you create original lyrics for every project).

Rob reports that most artists take three or four hours to complete a song. You’re paid $100 per standard song, but 50% of orders add a third verse, which increases the artist’s pay to $140. And, on top of either sum, 20% of orders receive artist gratuity.

So, if you can create a song in four hours, you’re making between $25 and $35 per hour, plus tips.

That’s not incredibly lucrative, but it’s also not bad, especially if your alternative employment while you’re trying to make it is working at Olive Garden. You probably won’t become a millionaire at either establishment, but at least at Songfinch, you’ll get to hone your craft.

4. You get hands-on feedback from Songfinch’s team.

One cool thing that artists get when they sign up for Songfinch is access to hands-on support from professional audio engineers and producers.

You’ll get specific tips on how to record, mix, and produce your songs so that they sound more professional. I’ve paid for this kind of material before, so getting it for free is a legitimate benefit.

It’s also worth noting that, while they want to ensure song quality, Songfinch also seems to really have their artists’ backs.

Basically, once you’ve been approved into the Artist Community, Songfinch assumes responsibility for the work you do (although you maintain all the rights to your songs). If a customer doesn’t like the song you made, you don’t have to refund them – Songfinch will take care of it. Once you’ve submitted a song, you’re pretty much done. You only have to provide revisions if you missed something in the original prompt.

Rob says that the platform has a 99% satisfaction rate and a 94% success rate with no revisions – meaning nearly everyone who requests a song is satisfied with their result. That’s pretty crazy, and it makes life easier for artists.

5. You make money and build relationships.

Okay, here’s the crux of the value proposition Songfinch offers to artists: When you join, you get the chance to develop a dependable income stream from your music and you get the chance to build meaningful relationships with potential fans.

I was skeptical on the second part of that. Rob asked me how I would approach the Songfinch platform as an artist, and my first response was that I’d be interested in it, but that I wouldn’t want it to be associated with my public artist persona. Maybe it’s some misguided form of pride, but to me, something about having a public songwriting side gig felt like it would delegitimize my music.

Rob countered with this: The majority of artists on Songfinch don’t separate their profile from their public persona, and, as a result, they’re actually able to use Songfinch to develop deep fan relationships.

And, on second consideration, it makes sense. If you request a custom song for your wedding and you end up loving it, you’ll probably feel attached to the artist who made it – and maybe you’ll even become a long-term fan. There’s definitely the potential for a deep relationship there, and that’s a cool thing.

The bottom line:

From my vantage point, Songfinch is a pretty solid idea. It’s undeniably appealing on the consumer side of things. And, for artists, it offers a viable way to monetize meaningful art.

If you work in a mainstream-ish genre, can self-produce your music, and write songs fairly quickly, Songfinch is worth checking out.

If you’re interested, you can apply to join their Artist Community here.

And regardless, here’s wishing you the best as you write beautiful music.

The post Is Songfinch Worth It for Artists? appeared first on Two Story Melody.

A new track from Montreal-based band Calm Lake, “Le Seltzer” struts a warmly melodic ’90s rock nostalgia within a jangly haze. There’s a poignant yearning in the lyrics and hazy vocal expression. “We’ve all had it rough last year, stuck in our bedrooms, afraid to be so near,” singer/songwriter Nikki Celis lets out, accompanied swiftly by guitar tones with a smiling familiarity reminiscent of Wrens and Smashing Pumpkins. The “le seltzer,” refrain plays with hypnotic allure, especially upon the dashes of synths accompanying in the final minute. “Le Seltzer” easily engrosses throughout, meshing familiarity with inventiveness.

“In Montreal, people have been finding ways to express their creativity,” Celis says, describing the release as an “anti-jingle.” “Whether that’s making new musical projects like Calm Lake, making their ‘quarantine songs’ or even starting new businesses. This is my take on a quarantine song.”

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“Le Seltzer” and other memorable tracks from this month can also be streamed on the updating Obscure Sound’s ‘Best of December 2021’ Spotify playlist.

The track is also featured in the genre-based, best-of Spotify compilation Emerging Indie Rock.

The post Calm Lake – “Le Seltzer” appeared first on .

“Love Me While You Can” is the captivating debut single from Pennsylvania-based band Canary. The contemplative vocals and shimmering guitars lend a retro-pop feeling initially, gearing into more rock-friendly territory as the track progresses. The “standing at my door,” vocal bridge, traversing thereafter into rousing guitar work, conjures infectious ’90s nostalgia. The delectable title-referencing refrain follows with cohesive appeal. The duo of vocalist Kat Leverenz and guitarist Zach Dennis show hooky songwriting and polished production on their winning debut “Love Me While You Can.”

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“Love Me While You Can” and other memorable tracks from this month can also be streamed on the updating Obscure Sound’s ‘Best of December 2021’ Spotify playlist.

The post Canary – “Love Me While You Can” appeared first on .