It’s that time again where tens of thousands of aspiring musicians will wait for hours in line for a chance to perform for the producers of the Voice which gives them a chance to perform for the “blind auditions” in front of the celebrity judges which gives them a chance at making it on TV! Look mom, I’m on TV!

I’ve never been a huge fan of these singing contest shows for the simple fact that they aren’t meant to help musicians. They are meant for ratings. And The Voice has been great at garnering ratings (and helping the JUDGES careers out). I can count on one hand how many former Voice contestants have gone on to become stars. Actually, I can count on one fin. Because fins have no fingers… never mind. NONE. Just remember that getting into this thing.

Yes, former contestants and winners have gone onto (or continued their) successful music careers, but if you’re doing this to be a star, you’re in it for the wrong reasons. Hell, if you’re in music for fame and fortune, you might as well give up now. Music ain’t about that. And people see through false motivations and can sniff out inauthenticity a mile (or iPhone screen) away.

That being said, yes, The Voice has given many musicians’ careers bumps. You still have to be the one to drive your career. And you cannot (and should not ever) rely on others to run your entire career for you. Even if you win the whole damn show, you better surround yourself with people who believe in you, the artist, and want to stick with you for better or worse. Because, yes, right after you place well on the show there will be trophy chasers pounding down your door. You don’t want them. You want a manager that says “I’m not working with you because you were on The Voice, I’m working with you despite it.”

And you definitely can’t expect the labels to help you out.

“In that time, we do so much great shit for these singers, and then they go to a record label that I won’t mention. But they go to a record label that fucks it up. Record labels are — our business is the worst right now. No one knows what they’re doing.” – Adam Levine

So, with all that said and you still want to audition for the TV SHOW, (yes, it’s a TV show, not meant to make musicians famous, but meant to increase ad buys during said TV SHOW) then here is what you need to do to win your audition.

These points are taken from many conversations I’ve had with former contestants who were bound to secrecy by the show for fear of a $100,000 fine. No joke. So, obviously, I’m not mentioning names here.

Pick The Right Songs

For the open call auditions, they want you to prepare two songs a cappella. No tracks or instruments are allowed. Open calls move quickly because they’re just trying to weed out all of the crap “talent.” For the callbacks/private auditions you can have accompanists (or accompany yourself) and they want you to prepare three songs – at least one song without your instrument (you can sing to a track).

Pick songs that have been popular in the past 5 years. The reason for this is at the callback audition they require it. So you might as well prepare these in advance and hope you get a callback.

And make sure that at least two of your songs are up beat. If you’re going to the open call, make them both up beat. At the callback/private audition, you can have two up beat and one chill tune. But it’s best to keep them all upbeat. However, if you can sing “Hello” like Adele, then go for it.

The casting directors (judges/producers) are looking for authenticity. They’re looking for artists. Not musical theater performers. They are looking for, yes, strong voices, but this doesn’t mean you need to be a belter or have vocal acrobatics. Just show what you do best. Some of the top 10s of previous seasons didn’t sing like Christina Aguilera or Brian McKnight. They sang like themselves. If you sound like Ray Lamontagne, Lorde, Halsey or Norah Jones, great! Pick songs that work in your vocal style and range.

One of the contestants I spoke to said he made the mistake of choosing “Poker Face” by Lady Gaga for the prerecorded track to sing to. He used the karaoke version (which sounds just like the original). He bounced around singing Lady Gaga after he just finished a Coldplay song on acoustic guitar. The judges loved his Coldplay song, but the Lady Gaga threw them and they stopped him and said, we love you, but we’re going to pass because you’re too inconsistent

You have to have an established understanding of who you are as an artist. Not just a good singer. Home in on your style and your sound. Then show it off.

Dress The Part

It should go without saying, but you should dress like an artist. If you aren’t a working musician, this may seem awkward for you. If you work a 9-5 corporate job with a dress code and hang out with only your non-musical, non-artists friends, this will feel extra uncomfortable. Don’t go in there looking like a soulless corporate hack. They will judge you based on your look long before you open your mouth. Go in dressed like an artist. One that fits your personality. Your sound. Your style. If you don’t have an outfit in your wardrobe now, go shopping. Look up your favorite artists and study their wardrobe. You can use that as inspiration, but of course, make it your own.

Ladies, don’t show up in your tight, short clubbing dress. It’s unoriginal and this isn’t a beauty contest. Dudes, don’t show up in cargo shorts and Birkenstocks. Unoriginal.

Remember, they are looking for artists. Be an artist!

Own The Room

The show isn’t just casting good singers, they are casting good personalities. They are casting characters for their TV SHOW. Ok, I’m done hitting you over the head with that.

When you walk into the room, you want to OWN the room. You’ll have a bit more time at callbacks to shoot the shit with the casting directors/judges and you definitely should. And you want to initiate conversation. Don’t go in polite. Don’t go in like an arrogant asshole either. Go in confident and say something to them right away. It should feel and seem off the cuff. It should fit your personality and showcase what makes you special (aside from your voice of course). If you’re boisterous, be boisterous from the moment you walk in. Crack jokes, talk about what you just experienced in the hall. Be different. Be unique. If you have a dry sense of humor, tell a joke, quietly in the mic that works with your personality and the situation. Make them laugh. If you’re goofy be a goddam goofball. If you’re a tortured artist, then, you get the point. Don’t say the same boring thing everyone else is going to say “uh, thank you for your time.” Bleh!

You want to bring in good vibes with you. Relaxed vibes. You may have those butterflies raging battles on 3 fronts in your belly, but you want to project an air of confidence. It’s almost just as much how you carry yourself as it is how you sound. Of course confidence can’t replace a crappy voice, but it will help.

At callbacks/private auditions there will be mics, stands, keyboard, monitors, cords for you to plug your guitar in. Your gear should work. Triple check it the day of. Replace you batteries in your guitar. Change your strings. Make sure the pre recorded song you have (for callbacks or the private audition) is pulled up on your (charged) iPhone and that your phone is in airplane mode or Do Not Disturb so you don’t get a phone call that interrupts your performance. Don’t Snap the 4 hour waiting process only to drain your phone to its death – unable to play the track you’re supposed to sing to. Maybe bring a battery pack with you just in case.

Know Your Story

If you make it past the open call and past the callbacks, you will be sent to “casting” directly following your callback vocal audition. This is where they will bring you to a room with a camera and a casting director and they will ask you questions about your life. This is for them to find the most interesting people with the most interesting stories. You know all those backstory montage intros before many of the contestants’ blind auditions? These come from the casting session. Make sure you have at least one really interesting thing about your life: Tragedy, things you’ve overcome, interesting family history, current job or volunteer organization. Something that sets you apart. What is your “story.” Because they want to know. And if you don’t have one it will be that much more difficult for them to justify bringing you on the show.

Are you a working musician? What’s the most interesting show you’ve had. Best? Worst? Why are you a musician? What kinds of shows do you play? How long have you been performing?

Is your great uncle John Coltrane? Is your husband Andy Grammer (shoutout to Aijia!). Is your daughter autistic? Do you work 3 jobs to support your family? Are you a teacher? A camp counselor? These are all interesting things to talk about. Come up with the most interesting thing about your life before you get to the casting room and you’ll have a much easier time talking about it and winning over the producers when they watch the tape.

The Private Audition

Most of the working musicians I know have been invited to a private audition (as have I). I believe it happens in every city they hold an open call. The way the producers find musicians to invite to the private auditions is mostly through YouTube. And they aren’t just looking for YouTube stars with millions of plays or subscribers. They’re just looking for good talent. It should go without saying, but if you’re a working musician you need some great videos of you performing on your YouTube channel. It’s also helpful to have a BandCamp profile (easiest way to search for artists in designated locations) and of course a Facebook Page.

How To Rehearse

Now that you have the logistics of your audition worked out, you still need to prep! You should rehearse your songs until you can sing them in your sleep. You should film yourself performing them and critique your video. Setup two cameras (phones), one close on your face and one pulled out to see your entire body. If you’re not a veteran performer, it will take a bit of work to look and feel natural performing. So you’ll need to work extra hard at this.

Don’t fake the performance, though. The judges will be able to tell. Feel the music. Be the music. Get to the core meaning of the song. You should ooze personality when you’re performing. Whatever your personality is.

What’s the old joke? How do you get to Carnegie Hall? Practice practice practice! Same is true for Team Adam!

Ari Herstand is a Los Angeles based singer/songwriter and the creator of the music biz advice blog Courtesy of Digital Music News 

Now if you don’t want to audition for The Voice . Musik and Film can help you with a record label distributed by Sony , Worldwide radio promotion by Musik Radio Promotions  PR and all the tools you need to make it as a Indie artist

In Luke Bryan’s 2014 smash “Play It Again,” magic happens when a girl’s favorite hit of the day drifts across the airwaves and out of pickup truck speakers on a breathless Georgia summer night. Bryan’s been waiting all evening to make his move, and his tan-legged crush has been waiting just as long to hear this one song until — here it is. She lights up, takes Bryan’s hand and the pair dance and kiss through the fade-out. “Play it again,” she says on repeat, and Bryan would if he could. “I’d give that DJ my last dime,” he croons. But all he can do is keep “scannin’ AM, FM, XM,” desperately hoping for an encore.

The premise doesn’t seem so ridiculous to Scott Borchetta. “[Fans’ and artists’] relationship with country radio, it’s still the Number One source of discovery in country music,” the Big Machine Label Group CEO tells Rolling Stone Country. All Access Music Group country editor and veteran radio programmer R.J. Curtis echoes Borchetta. “From every piece of research that I’ve seen and reported on, it’s still the most important methodology for an artist to get mass appeal,” he says. “Country fans rely on radio to discover new music.”

The numbers back up those claims. According to a 2014 study conducted by market research and media polling firm Edison Research, 75 percent of listeners discover new music on terrestrial radio, trumping SiriusXM (20 percent) and Spotify (18 percent). That’s certainly true for country music. Per Nielsen, it is the “top national format among Millennials and Generation X’ers.”

According to an April 2014 story in The New York Times: “Country has been one of radio’s biggest success stories over the last decade. While the number of country stations has remained relatively stable over that time, at about 2,100, country’s share of the audience has been gradually increasing, with about a 15 percent share among people 12 and up, according to Nielsen.” In short, more people are listening to country radio stations.

“We dedicated all of 2014 to radio,” Scotty McCreery tells Rolling Stone Country. “This is a relationship business; it’s all about folks being friends.” Cultivating and maintaining those relationships paid off for McCreery; the 21-year-old 2011 American Idol winner’s 2014 single “Feelin’ It” cracked Billboard’s Country Airplay chart’s Top 10.

“Radio is truly the reason I am allowed to do what I do,” Chase Bryant, a new act on Red Bow Records, tells Rolling Stone Country. “They are the gatekeepers. Without country radio, you’re not going anywhere. It’s all kind of up to them sometimes.”

Though Swift identifies as a pop singer now, it’s country radio that made her a superstar. While reaching her stratosphere of success might seem ambitious for country hopefuls like Rhett or Bryant, becoming bona fide arena headliners isn’t such a lofty goal. Each spent the last couple years working their way up bills topped by the likes of Luke Bryan, Jason Aldean and Brantley Gilbert. Even in these, the music industry’s darkest economic days, Nashville is producing dozens of relatively young arena headliners, including Eric Church, Miranda Lambert, Blake Shelton, Jake Owen, Lady Antebellum and Florida Georgia Line, who headline a sold-out show at New York City’s Madison Square Garden this week.

“Live Nation recently reported that audiences for its country concerts grew 50 percent last year to seven million,” The New York Times noted in April 2014, “and the company said that it now views country as one of its two fastest-growing genres, along with electronic dance, the hot youth trend of the moment.”

One thing country’s stadium- and coliseum-filling stars — from recent graduates Bryan and Aldean to veterans like Keith Urban and Kenny Chesney — have in common is they all arrived at that point by way of radio airplay. And most wouldn’t have gotten that airplay were they not on a major label. In that sense, country radio and the Music Row machine are the last stronghold of the old music business, where major labels and terrestrial radio can launch superstars who go platinum with first-week sales, and fresh faced-singers can work up from clubs to arenas in a matter of a few record cycles.

Musik Radio Promotions can get you the indie artist heard and played around the world in 180 countries

In 2012, the duo scored a Number One with their wistful country-rocker “Angel Eyes.” Three years later, after three subsequent singles stalled before cracking the Top 30, the band was dropped from Sony. Now, by Overton’s metric, they don’t exist. Or rather, by country radio’s rubric, they don’t exist. At least not to radio listeners.

But part of the programmers’ job as gatekeepers is to be ahead of trends, when they’re rising and when they’re falling. And if country radio’s hive-mind is growing as cynical of bro country as its critics, the way the tea leaves are reading doesn’t bode well for the still-stadium-packing sub-genre. “As we look at 2015, I think we’re entering into a period where we’re not going to see a lot of that [bro country] stuff anymore,” Curtis says. “I think everybody is trying to be aware of that [paradigm shift] — they’re trying to see what else is coming down [the pike] and what else could be successful for them.”

Musik and Film sees a shift back to Country Rock, Southern Rock and Original Country. A shift where a Indie artist can get airplay and get heard. MAF’s division Musik Radio Promotions gets airplay in 180 countries for its artists

Courtesy of Time

Taylor Swift’s recent decision to yank her music off of Spotify, the online music streaming service used by more than 50 million people, has become the latest episode in the battle over the music industry’s diminishing profits.

One central mystery in the drama: just how much do artists make when their songs are played on the service? We used Spotify’s stated payout range – $0.006 to $0.0084 per stream – to calculate how much the top 50 songs streamed globally earned artists in 2014. See the bar charts below for each song. The payout range represents the top and bottom figures for each song as described by Spotify’s latest publicly available formula.

Spotify provided its “per stream” range in 2013 in an attempt to you release and oush your music  satisfy curiosity about the company’s royalties formula, which factors in total revenue made by Spotify and total streams across the site, both unavailable to the public. Regardless of the exact per stream payout each month, Swift’s chart-topping single “Shake It Off” earned more than any other song in October. But having spent only 7 weeks on Spotify, Swift’s single can’t compete with the top 20 best-paying songs from the first 10 months of 2014, like Calvin Harris’s “Summer,” which could have netted the Scottish singer $1.7 million.

Spotify’s CEO Daniel Ek has said that since the company was founded in 2008 it has paid out $2 billion to record labels and publishers, half of that total in the last year alone. In a recent blog post, he said that an artist of Swift’s size could earn $6 million by streaming her music on Spotify in the past year.

When contacted by TIME last week, a Spotify spokesperson said Swift had earned $2 million off global streaming of her music in the past year. Swift’s record label, Nashville-based Big Machine, said last week that it had received exactly $496,044 for domestic streaming of Swift’s music over the past 12 months.

While few are going to fear that Swift is about to go begging, the fact that the country’s best-selling artist believes Spotify devalues her work could have a major influence on whether other artists stick with the service.

“I’m always up for trying something,” Swift told TIME about joining Spotify. “And I tried it and I didn’t like the way it felt. I think there should be an inherent value placed on art. I didn’t see that happening, perception-wise, when I put my music on Spotify. Everybody’s complaining about how music sales are shrinking, but nobody’s changing the way they’re doing things.”

This is how you can hack your streaming royalties.

Earlier this year, DMN starting asking artists and labels to share their streaming royalty statements, which unearthed a pile of incredible per-stream statistics.  That’s part of an ongoing data-sharing project to battle the incredible lack of transparency in the streaming music space (and, please send your royalties to news@digitalmusicnews.com to share with the community, confidentiality protected).

The statements we’ve received so far include a rock band from France, an indie label from Quebec with 2.5 million YouTube streams,  and an ‘average American band‘.  That complemented earlier statements from a Grammy-nominated songwriter, one of the first Tidal royalty statements, and a blunt statement from Lady Gaga’s ex-manager on major label royalty payouts (or lack thereof).  By the end of this initiative, we’re hoping to publish a vast tranche of data that helps everyone figure out what they should be getting from their streaming plays.

We’re just getting started on this project, but things are starting to roll in from different corners.  That includes the results of this very interesting experiment from an indie rap label, which unearths some major payout disparities that can (and should) be taken advantage of.

Basically, what the head of this label found out is this: different streaming platforms are paying wildly different rates, with some smaller, paid services distributing vastly superior per-stream payments.

These differences are oftentimes extreme, making it possible to dramatically improve your streaming payouts by focusing on these higher-paying platforms.  The result is more money for your artists, right now.

OK, so let’s get started on how to re-tread your digital distribution to make this happen.

Step 1: De-emphasize lower-paying platforms like Spotify and YouTube.

You don’t have to pull your content; just pay less attention to the giant, mostly free streaming platforms.

For starters, Spotify payouts are really bad: according to most royalty statements we’ve seen, Spotify typically pays less than half-a-penny per stream ($0.005), and often less than one-third of a penny ($0.0033).  This is driven by a lot of factors, including huge numbers of free, ad-supported plays, and lots of money siphoned off by major label special deals.

According to leaked contracts and other information shared with DMN, that includes preferential, lower-cost ad units for major labels, as well as upfront cash advances.  Attorneys have told us that the emphasis by big labels in more recent years has been on granting ownership shares to major labels, but that places even more pressure to prioritize big-budget acts like Demi Lovato and Justin Bieber.

The end result is that upstream cash is taken off the table before smaller labels and artists can claim it, driving per-stream revenues into the gutter.  Meanwhile, major label artists often have a difficult time getting paid on Spotify streams, making this entire platform very difficult to monetize except for a core group of insiders, which includes major labels and superstar artists.

Now, Spotify is one of the largest streaming music platforms on the planet, and that can translate into exposure.  So, it may be unwise to yank your content from Spotify if you’re anything smaller than Adele.  And get into enough plum playlists, and that can create a big story for the right artist.

It can also translate into some cash, and there are definitely examples of this (Nashville-based artist Perrin Lamb is one).  But these aren’t windfalls, according to the experts we’ve talked to, and playlist inclusion is mostly about gaining new fans (that you can monetize some other way).

YouTube = poverty.

Which brings us to YouTube, which is notorious for being the worst-paying streaming music platform on the planet.  Basically, there are two forms of monetization on YouTube: direct music video matches and those picked up by ContentID.  Both completely suck, and if you don’t believe that, take a look at this royalty breakdown from a Canadian label with 2.5 million YouTube plays.

YouTube (proper music video plays): $0.001005 Canadian ($0.000794 US) per stream.

YouTube (Content ID): $0.001342 Canadian ($0.001061 US) per match.

In total, the label earned less than $2,000 for its 2.5 million plays (you can read more about that here), which is part of the reason the entire music industry is now declaring war against YouTube (and this could get ugly).  But that doesn’t mean pull your content off of YouTube, especially given the massive amount of users on this site.  But it does mean to give up any hope of making real money off this platform.

There’s just no money on YouTube.  Which means you have to try some other paths to earn money.  So it’s time to start outmaneuvering the system.

Step 2: Hack better-paying platforms like Tidal and Groove Music.

Back to the indie rap label mentioned earlier.  As part of a big experiment, the head of this label decided to put his music on as many different platforms in as many different countries as possible.  And, here’s what this person earned over a multi-month period on both Tidal and Groove Music (owned by Microsoft, also referred to as Xbox Music and formerly Zune Music).  These are average payouts across a substantial artist catalog.

As you can see, both of these platforms delivery wildly better payouts per stream.  While Spotify is rarely getting over $0.005 (half a penny) per stream, Tidal and Groove are consistently delivering multiples of that.  But even at its worst, Tidal and Groove are delivering 2 cents per stream (see Germany), but sometimes hitting as much as afull-blown 10-cents per one stream (see Sweden and Ireland).

(Note that some of these payouts appear to be exactly the same, but they actually differ once the number of digits expand beyond three decimal places.)

The full dime might be a temporary anomaly (see more on that below), but the overall payouts aren’t accidental.  Because even the worst payouts are at least double the best payouts you’d get from Spotify.

These aren’t typos, rather, they are the essence of this hack.  These payments are multiples better than Spotify and YouTube, even for smaller artists.  This is a loophole that smart label managers and artists are smartly working right now.

And, it should be mentioned that none of the artists on this label have hit it big yet (or have any huge hits).  But they are making music that enough people want to enjoy.

Step 3: Exploit Temporary, High-Paying ‘Accidents’

While we’re on Groove Music, it should be mentioned that there are some strangely high payments being doled out right now.  These are probably shorter-term anomalies while these platforms get out of their early stages with modest userbases, but they can be exploited to great gain right now (as in, do it now).

Take a look at this royalty breakdown involving Groove Music, from the same label manager (using songs from a broader group of labels).

Yes, that’s right, some of these streams are paying $2+ dollars per stream.  It’s right there in the statement, for one stream.   Yeah, it’s messed up, but finally it’s messed up in the artists’ favor.   “The streaming system is seriously flawed,” the person running the experiment told us.  “How can they pay more in a per stream royalty rate than it actually costs to simply download the single and own? LOL.  But hey unlike most of the people commenting on your posts, the labels I help aren’t complaining.”

Step 4: Move onto other, smaller, paid-only platforms.

Abnormal upper-end blips aside, there’s a reason why Tidal and Groove offer superior payments to artists: they are smaller and paid only.  That means every stream is counted against a paid pool from a smaller group of users, without the masses of free, ad-supported listeners.  That smaller group in turn triggers a smaller number of streams, with (numerator over denominator) produces a far bigger payout per stream.

Sure, Spotify has 30 million paying subscribers, but the problem is with the 70 million free users.  And Spotify doesn’t pay artists that attract paying subscribers better, even if 100% of your fans are premium users.  You, like every other label and artist, get lumped into the low-rent pool, dragged down by ‘freemium’ users.  “We have GLOBAL distribution to all available stores even Deezer which is not yet available in the USA,” our source relayed.  ”

“However, why would we promote music to platforms that pay $.0007 per stream?”

Speaking of global, it’s important to get into as many different countries as you can, because you never know where things can pop.  And, have you tried Google Play?  Here’s a breakdown from 2014, so it’s a little dated, but it also illustrates the principle at hand: smaller paid platforms, spread out to different countries.

Again, this blows away anything from Spotify, YouTube, or other large, free-access platforms like Deezer.

Step 5: Make Sure You’re on Apple Music.

Apple Music is actually getting pretty big, and it’s also paid only.  At last count, Apple had 13 million paid subscribers, which is nearly half the number on Spotify.  But unlike Spotify, they have zero free-access users (unless it’s a free trial, for which they also pay).

That said, we haven’t seen too many statements from Apple Music yet, probably because it’s less than one year old.  But from what we’ve seen and heard, the royalties aren’t bad at all (though you’re probably not going to get Groove-style payments).

Unfortunately, it’s nearly impossible to get featured on Apple Music unless you’re a superstar of major-backed artist, but there’s absolutely no reason not to at least position your music here.  Lightning does strike, and you could get factored into a popular playlist and enjoy the elevated payouts.  So why not?

Step 6: Promote Like Crazy and Monitor.

The most critical aspect of this strategy is to stop wasting your time promoting your content on crowded free platforms, while dedicating greater time to promoting the niches to draw greater revenues.  Let’s be blunt: the major labels own the front door of Spotify, because they paid for it.  You’re not getting in.  It may be 100 times easier to get on the front door of Groove, and about 10,000 times more profitable.

It’s also key to make sure to keep a tally of everything, something your digital distributor will handle for you.  After bull-charging the little guys, monitor like crazy to see where your biggest gains are coming from.  Just scour through the data looking for blips; oftentimes it will smack you in the face.   You will be pleasantly surprised.

But how much more will you make?  Obviously results will vary, and the upside will totally depend on your content and the extent of your campaign.  But one digital distribution exec we spoke with estimated that a conscientious label or artist can easily expect to quintuple their revenues in a matter of months.  That is, after spendingabout an hour re-tooling your strategy and approach.

After setting these changes in motion today with your digital distributor, and then setting a new promotional and monitoring game plan in place, you’ve started the wheels on a totally different ‘stream’ of income.

Good luck!  I hope these hacks help you make a lot more money off of streaming!

And last thing: please keep DMN posted on your progress (in comments below or to news@digitalmusicnews.com), and share as many statements as you can.  We’ll keep everything confidential.  

Power rock outfit Fuser are one of New Zealand’s most popular rock bands in recent years. The band have been receiving international praise and gaining new fans from all over the globe. Fuser’s latest single The Rules is a hard heavy hitting single with more grunt than a Bugatti Veyron.  Ian from Fuser says “Its an exciting time for the band at present as this is our 6^th single to go to radio and we have had some phenomenal success with radio stations all over the globe picking up our past releases, so we hope this one follows in the foot steps of our past releases”. Promoted worldwide by Musik Radio Promotions ,Fuser’s last release 600 Cops topped the radio playlist charts in the US and Europe alike, in some cases gaining more radio airplay than Foo Fighters and Coldplay! Check them out at https://www.facebook.com/fuserband

‘600 Cops’ was recorded at Neil Finns stud

A solution to heartbreak? Matt Makala thinks he has one with his new song “Do A Doobie”  . “When I think about you I do a doobie” Promoted to world radio by Musik Radio Promotions www.musikradiopromotions.com. “Do a Doobie is charting in the US and Europe. Its a different sad but happy song. It will make you laugh. Watch it on You Tube 

https://www.youtube.com/watch?v=B_5yZW2ZKWU