So, your tour is in the diary. Your band got a support slot with a band you love. Or perhaps you’re going out on the road as a sound engineer for the first time. Whether you’re performing, selling merch or a member of the crew, the unspoken rules of touring remain the same for almost everybody in the team. Unfortunately for most people, these rules really are unspoken, and you end up learning from your own, often “please let the ground swallow me whole” kind of mistakes. There’s lots of little things about touring that I often wish I had known from the get-go, so I spent some time curating a list of advice, drawing from my own experiences and some input from my touring peers.
1. Be organized.
Before you leave, really think about the things you need for the tour. Is your passport valid? Do you have the right visa if you’re travelling abroad? Did you pack enough underwear/guitar strings/Advil/deodorant? Personal hygiene is important and as much as some tours can feel like an everlasting stint at Glastonbury, regular showers and clean clothes are paramount. Bring things that make you comfortable too, especially if you’re away for a while; scented candles, portable speakers, pillows.
2. Pack as light as possible, you’ll be the one carrying it round.
Whilst you do want to bring some home comforts, don’t bring the kitchen sink (I struggle with this one personally)! It can also help to have separate totes as a ‘bus bag’ or ‘venue bag’ - things you just need for that one place so you’re not taking up a tiny dressing room with a huge suitcase.
3. Never assume anything.
This one comes from artist manager Joe Stopps, and he adds, “this applies to management, the entire music industry, to life!” This rule is helpful to everyone, but especially tour managers and those involved with the organization of the gig. Don’t assume there will be a house drum-kit, or enough dressing rooms for everyone, or even a stage. Make sure you have contacted the venue beforehand to reduce the element of surprise. I had a friend advise, “don’t assume the local crew have set-up everything right for you. Double check it yourself!”
4. Don’t burn yourself out by partying too hard.
On your first tour, the whole experience can be so exciting, you just want to party all the time. It’s what we assume to be the done thing; sex, drugs and rock and roll. It seems like an obvious piece of advice and I know it can be hard to heed, but don’t party hard every single night. You will get a rider (drinks and snacks provided to you by the venue) but just because the beer is free, cold and tempting, it doesn’t mean you need to drink it all. You can actually take it with you for another night (bring a cardboard box or tote for carrying your rider out). You need to be able to do your part on tour well; especially if you are a hired member of the team and are getting paid. Days on the road can be long and arduous and getting enough sleep often makes it easier. Not to say you shouldn’t relax and have a good time, but the optimum time is the night before a day off or travel day. Some nights, you just need to take yourself to bed. Your body and team will thank you!
5. Give everyone the space they need.
This applies especially if you are the opening band for a headliner. I learnt this one the hard way, when I kind of got in the way of the headliners in a corridor as they were coming off for their encore. I got a true angry, Scottish telling off from their tour manager. I feel like he might’ve been stricter than most, but for me it’s definitely set the bar for how to treat headliners, and as time goes on you can learn how they like to run things. For soundcheck, check the stage is definitely yours before loading on your own equipment. If you’re sharing a dressing room, make sure that you respect the space and do indeed share it. Check which rider is yours - don’t end up drinking the headliners beer!
6. Be polite, have a flexible attitude and remember people’s names.
It seems like simple advice, but it can go a long way. After many days of shows, tiredness can be sure to help manners slip, and you need to remember that it isn’t the people at today’s venues fault that you had a shitty show last night/your bus broke down/you missed your partner’s birthday party/your drummer didn’t shower today and you’ve been in a van with them for five hours. If you are polite, they should treat you well, and maybe even give you some extra beers at the end of the night. Better yet, invite you back to play again.
This also applies to the people within your team. Acts of kindness are always helpful. Offer to make cups of tea (especially with British crew!!), buy a round of drinks after a tough show. You need to be a person that can brighten the mood if it’s needed, but also give people the space to be alone when they need to.
7. Don’t screw the crew.
It’s also sensible to apply this rule to not only your crew, but other crews you’re touring with too. It only complicates things and makes everything awkward. If you fall in love and think this person is marriage material then perhaps then you can approach the situation, professionally! I also had a peer send in this piece of advice: “Don’t meet love interest in point A, then convince them to come with you and the band on the bus to the next show at point B!”
I think touring is always so much fun, and if you consider these survival tips whilst touring along with a healthy dose of common sense, the whole experience can really run smoothly. It should be memorable and some of the best times of your life. I’m totally addicted; I hope you will be too.
Guest Post by: Vicky Warwick
Vicky Warwick is a British musician and songwriter living in New York City. She's worked in the music industry for the last ten years appearing on stages and TV screens, playing to thousands of people across America, Australia, Europe and Asia with the likes of Charli XCX, Tom Bailey (Thompson Twins), Cyndi Lauper and Cee Lo Green. Read more about Vicky in The Crush's own feature on her here, and be sure to follow her on her socials @ainsliemusic on Instagram and Twitter.
Our #WCW today is Grammy-nominated songwriter Amanda Richards who has not only written seven albums and two EPS to date, but has also just written and will be starring in her very first full length musical "Whiskey Dixie and The Big Wet Country". The musical follows Whiskey Williams (played by Richards herself), a hot-mess country singer beating off the demons of her past, through a rough weekend of poor decisions and hangovers, and all the while tackling sexual taboos & the American patriarchy. We sat down with Amanda to learn more about how she came up with it all!
What inspired you to write Whiskey Dixie?
For years I have hoarded a collection of raunchy country songs that I would break out occasionally at late night gigs. Many of the songs were written when I used to open burlesque shows under the alter-ego “DeManda.” Last year, I went on a writing retreat with a few good friends and thought about how fun it would be to use some of those songs as inspiration to write a stage play.
How long did it take you to put the musical together? Were the songs written first or the script?
Some of the songs I have had for a few years. It took me 4 days to write the first version of the script. I have since written 21 drafts of the script. By the time the play opens, it will have been nearly 10 months since pen was first brought to page, so to speak.
You touch on some pretty taboo topics - why do you think it’s important to talk about them (ex: women’s sexuality)?
I didn’t necessarily start out with the intention of writing a provocative or hot topic play. I was separating from my partner of 7 years and I really just needed to laugh about something.
As much as I hate to admit it, I tend to draw a lot from personal experience; and my perspective and sense of humor are a bit taboo. More than anything, I just tried to approach the subject matter with as much truth and honesty as possible, and that in and of itself makes it funny and uncomfortable because most people don’t talk about this stuff casually.
Did you know you wanted to work with a woman director on this show or did it just happen? Talk about the experience of working with a mostly female cast and crew!
Serah Pope was one of the friends who joined me on the writing retreat in November. After the first official table read, she kind of claimed it. I had 4 other people offer to direct it right away but I felt it would be better to have a friend and another woman involved to maintain the playful tone of the script. I feel like men’s sexuality has a tendency to bulldoze female sexuality and this story, as uncomfortable as it is to tell, needed to be rooted in female perspective.
Do you think you’ll go back to writing albums or is another musical in the works? What’s next for Amanda Richards and Whiskey Dixie?
I produced my first full length album when I was 21 back in 2004. I thought that after I did one, I would get it out of my system and settle down into a “real job.” Seven albums, 2 EPS and a full-length musical later, I know that this is something I’m going to be doing for the rest of my life.
Music was always number one for me but it never felt complete. The making of this musical has allowed me full expression of my gifts as a writer, singer, actress, producer and artist. So far I have enjoyed every aspect of production l and I’m already thinking about writing the next one. I honestly feel as though I have finally found my true calling as a playwright and performer. I hope the audience feels the same way.
We're absolutely loving the track list which includes songs titled "The STD Song" and "Poor Personal Hygiene." Not only are they great songs musically but they are hilarious! Portland, don't miss out on your chance to see Amanda and the rest of the cast in Whiskey Dixie and The Big Wet Country at The Imago Theater from September 21st through October 13th. For more information about the musical or to buy tickets you click here.
Interview by: Ashley Kervabon-Stoyanov
Ashley Kervabon-Stoyanov is the founder and executive directress of #WomenCrush Music. When she’s not leading the #WCM team, she’s coaching artists on how to live their best lives via her business DIA Music Coaching and travelling the world with her hubby and chiweenie pup. She currently resides in NYC and you can follow her at @mrsbossladywcm.
Curious about what goes on “backstage” at #WomenCrush Music? Volunteers are the heart and soul of #WCM, and our Chapter Leaders in particular have been making strides to build local communities that connect, educate, and inspire women in music. To show our thanks, and to give our readers some awesome insight, we are spotlighting a different Chapter Leader every month on The Crush!
For this month’s Chapter Leader spotlight, we’ve got the Bay Area’s rockstar Krystal Beasley, who is behind all of the rad events being held in San Francisco and San Jose!
How has working with #WomenCrush Music impacted your life?
I’ve met so many people in the industry in a short amount of time thanks to #WomenCrush. Artists, venue managers, promoters, artist managers and also people who enjoy coming out to shows and supporting women in the industry. It’s so lovely meeting like-minded individuals - I’m very grateful.
What is one thing you want the #WCM community in your city to know about you?
If you see me out at a show, #WCM or not, come say hi to me! I’m very chill and always down to meet new people. Especially music lovers! Let’s be friends.
What other cool projects are you working on right now?
I’m also working with the super talented and amazing human Blimes Brixton and her female-fronted label, Peach House Records.
What has been your favorite part of being the face of #WCM in your city?
I love meeting the audience members that come to our shows. I also love when I receive great feedback from the audience, the artists, and the venues. People approach me to thank me for throwing the event and I’m not sure why they are thanking me! I’m just happy to be a part of it all. The warm reception has been truly incredible and I’m excited to continue growing this #WCM chapter.
What do you have planned for the future of your city?
Big things! Definitely looking forward to more showcases in San Francisco and Oakland as well as workshops and networking events to help educate artists and industry folks. I have a few more tricks up my sleeve but I can’t give it all away, that’s no fun!
How did you first get involved with the music industry?
I’ve been going to shows non-stop for such a long time. A while ago, I got involved with Showbams and began writing show reviews and pieces on upcoming artists, local and international. Then I lived in Melbourne, Australia for a bit and did some booking and social media for a big hip-hop venue called The Laundry Bar and I’ve been in it ever since.
Who is your favorite LOCAL woman artist? Why?
Amy Dabalos. I have this thing for jazz music and every single time I see this woman perform I am blown away. She inspires me with every performance, every song, every new lyric. The last time I saw her, I took my dad and his friends and they thoroughly enjoyed it! My dad is old school when it comes to music. If he’s into it, that’s how you know it’s good!
Who is your favorite touring woman artist? Why?
I gotta give this one to Rihanna, Kehlani, and Cupcakke. I’ve actually only seen Kehlani perform live but they all tour a lot! And I have mad respect for that. Also K. Flay. I’ve seen her about 10 times. Never gets old.
What is one song you wish you would have written (by a woman)?
Dianne Warren is amazing. She wrote so many classics back in the day (and still does). I think I’d have to pick ‘Have You Ever’ sung by Brandy. I was obsessed with that song. That was such a good song that was so popular because so many people could relate. And the way she wrote about it was in this different style and it just made sense. It really worked. Even though it was such a sad song, it could make me happy because it was so beautiful and made me feel like other people go through what I go through.
What’s your advice on people who want to get into the industry?
Just do it. Get in it. Help out a musician friend, go to a bunch of shows, volunteer, get an internship, meet people, ask questions. You have to go out there and get in it. “The best way to predict your future is to create it.”
What upcoming #WCM event are you most excited for?
I'm very excited for a #WomenCrush Music benefit concert on December 7th that will be held at the Independent and features a badass lineup of amazing local artists. I'm also excited for 2019 - you can expect East Bay events and #WCM residencies, so be sure to follow along to stay up to date!
What #WCM city are you dying to visit? Why?
Chicago! I’ve only been there once and they have an amazing music scene. I can't wait to go back and explore even more of that city and dance it up. And, of course, eat a Chicago dog.
You can catch Krystal TONIGHT at the #WomenCrushSJ Women in Jazz Showcase at 8pm at Art Boutiki!
How Lights’ first album colored my journey with mental illness--and helped me heal
In the spring of 2011, fifteen-year-old me was a sophomore in high school. I was depressed, and had been since middle school. I had one close friend. My peers and I competed within a hierarchy of class ranks, and smart phones, and annotated novels in our English classes.
The internet offered some escape. It was an unmemorable, not-special day on YouTube. Until it wasn’t.
Subscribed to British musician Ed Morris, who in late March, under the username “MrMusicman284” posted his latest cover--of Canadian singer-songwriter Lights’ “River”--I clicked.
“Absolutely love it,” Morris began, gushing. “She did an acoustic performance on Billboard[‘s channel], and I’ve just been watching it for, like, days now.”
Without even giving the music stylings of Ed Morris a chance, I clicked off, and searched for said performance.
I remember it being the best song I had heard in a long time. From there I found the original, in all its pulsing, electropop glory. And then I unearthed more--her complete first album, The Listening.
When it arrived in the mail from Amazon, I had just arrived home from school. I immediately put it on.
The first notes of “Saviour” trickled into my ears: The night is deafening when the silence is listening...
Now the proud owner of Lights’ downcast debut disguised as 13 bubbly, brilliant bops, in physical form all the way from Canada--I grinned. I can’t say I remember many individual smiles, but I remember this one.
Five months later, I realized how timely Lights’ entrance into my life was. Especially that very first song.
On the edge of my junior year, I was diagnosed with anxiety. I had always been a nervous, socially-hesitant kid, but I wasn’t prepared for panic attacks, nor their entwinement with my pre-existing depression. They proved so jarring, were so consistent, and felt so permanent, that suicide returned to my mind as a viable solution.
My family had delayed our summer vacation that year, slated for a week or so after my diagnosis. My packing included a new addition this time: a translucent orange bottle with some 15 chalky capsules. No refills. Any moment could trigger my anxiety; I had to pick my battles wisely.
The car ride to the beach was no exception. Besides stops to eat, I was trapped for at least four hours on bustling highways. With iPod Touch in tow, I blared music in my earbuds and tried to sleep. It was lullaby-esque “River (Acoustic)” that diffused the tightness in my chest and my shallow breathing.
For every bout of anxiety thereafter, I turned to that song. For nearly every morning drive until I finished high school--perhaps to combat it proactively--I would play The Listening for the hundredth time before I’d reach for the radio.
And there were 12 other songs on the album, of course:
“Face Up” captures isolation and discouragement.
“Second Go” paints insecurity and compartmentalized emotions.
“Pretend” and its reprise reflect on growing pains, and the innocence of childhood.
“Drive My Soul” presents an identity crisis--her “Landslide,” if you will.
“The Last Thing on Your Mind” talks of support, accountability, and validation.
And “Lions!” and the title track have some of the most poignant imagery I’ve heard in pop music, or all of music for that matter.
A few years ago, I found my misplaced amber bottle. Its label bore an expired date, with a few capsules remaining. My anxiety (and depression) has since waned significantly, but the medicinal remnants served as a tangible symbol for my self-empowerment. As a therapist once told me, even when I didn’t believe it: “You are in charge of the way you feel.”
During my freshman year in college, however, it was hard to remember that mantra (or even recall the cathartic power of Lights’ music, despite her poster adorning the wall beside my bunk.) My depression resurfaced for the first of many additional times throughout my undergraduate years, and my anxiety remained crouched right behind it, ready--unlike I ever was for it. My university’s Health & Counseling Center, shrouded in a wooded part of campus, offered 12 free sessions a year.
“And sometimes,” an evaluator assured me with a wink, “we lose count.”
A few months in to the fall semester, I starting seeing a staff psychologist named C*. I didn’t know what to expect from state-school therapy, but to my pleasant surprise, we meshed well. Somehow, during one of our earliest meetings, music was brought up. Then Lights, and her striking diction on The Listening, my favorite album. C turned around right there, mid-conversation, to Google song lyrics. She loved them.
The next time I met with C, no sooner had I taken a seat in my usual chair, than she spun around to her desk once again--this time, to my disbelief, with her own copy of The Listening CD in hand. I was touched; from a small gesture, C made her investment in me clear outright. In that moment it all came full circle, in the likeness of a trusty chorus:
Take me river, carry me far
Lead me river, like a mother;
Take me over to some other unknown
Put me in the undertow
To C, Ed Morris, and to Lights herself--I owe you one.
About the Author
Stephanie Smith, 23, lives in Charlotte, NC and graduated from UNC Asheville in 2017 with a B.A. in Mass Communication. Previously, she's contributed news and features to Highlight Magazine and Charlotte's Nü Sound. Stephanie remains a huge fan of Lights and has seen her live twice.
Wisconsin based singer-songwriter Rändi Fay captivates us all once again with her new video “Supernatural”. Released on August 16th, “Supernatural” is a beautiful song co-written by Rändi Fay and Aaron Zinsmeister featuring Fay’s transcendent vocals paired with Timothy Perkins melodic bass lines. With inspiration from Joni Mitchell to Sade combined with her smooth vocals and Timothy’s dynamic bass, it's no surprise that she has been nominated for “Jazz Artist of the Year” for the past 4 years in a row by the Wisconsin Area Music Industry. Fay adds a healing power to her music that she shares with all of her fans.
The video is an enchanting and empowering display of Fay’s strength and beauty. She has a light that shines from deep within and out throughout her whole presence. The video opens to a mysterious, driving bass line and beat, and Fay singing out in a misty forest, then switches to the expressive and enticing dancing of Azure Hall for a display that will keep your attention throughout the song. The final line of the chorus “You’re supernatural and beyond the dawn our powers multiply… cause so am I,” reminds us that this is so much more than your typical love song, but rather an expression of a love between woman who knows her strength and and man who respects it and knows his as well. Her goal while writing “Supernatural” was to combine “traditional” instruments such a bass and vocal with that of more contemporary sounds like synth to create a masterpiece of sounds which blend together beautifully.
“‘Supernatural’ is about the surreal intensity of love and desire, with chemistry romantic and intense, but also equal. While writing, it had to be clear that the relationship is especially enchanted by the balance of attraction between both partners, not one fawning over the other. I wanted the music to support that concept by layering two very natural instruments, the voice and the bass, into a winding, ‘supernatural’ arrangement.” - Rändi Fay
Watch the new video for "Supernatural" below and add the single to your playlist on Spotify where the track has already reached over 1000 streams!
If you want to connect with Fay online you can find her on Facebook, Instagram and Twitter, and hashtag #ConnectingWorlds on your posts about her and her work. If you love what you hear you can book a private concert with Fay here at her website and invite your community to share in the experience of Fay’s music. You can also join Randi Fay’s mailing list for a free download of “Supernatural” and to stay in touch with upcoming events and releases and experience the “ethereal symphonic pop-rock” of Randi Fay.
Written by: Hannah DiMo
Hannah DiMo is a singer/songwriter and novice music publicist and blogger for #WomenCrushMusic and Do It Anyway Coaching located in the heart of Portland, Oregon. She has been writing and performing music for over 20 years and is passionate about not only her own music and media but also promoting other artists that she believes are talented and deserve to be heard. For more information about DiMo’s music or how you can be featured on #WCM or #DIACoaching reach out to her at her website here.
“Music is my heart and my voice. I use it to connect, to process difficult emotions, and to heal myself and others. It's my anchor, and it taught me who I am at a very young age. It pulled me out of the darkest space I've ever seen. And it has been there, guiding me, my entire life. I write songs that repeat in a meditation, but grow and build from beginning to end--my goal is to lose myself in each one of them. I lose myself in the music in order to find myself in the world.“ - Dani Tanzella
It’s always a breath of fresh air to hear original music that doesn’t involve the same synth sounds as the top 40 charts; music with vocals full of emotion & stories, versus the usual pitch correction & one-liner hooks. It’s even more impressive when you learn that the artist behind the music is a one-woman band, and one with a hell of a story.
Portland artist Dani Tanzella is making a comeback in the local scene with the release of her debut single, “Heart Fall,” off of her upcoming EP “Time Space Love” (9/21). In this exclusive feature, she talks about the “chamber pop” genre, how she healed herself with music, and about what is next for her music career...
Tell us about the injury & journey to healing that led to the creation of your new sound that is featured on your new single “Heart Fall”.
(A little backstory--I am from AZ, and I was working as a musician and private teacher there until they cut music from the schools and I lost all my students. I went back to nursing school to support myself and my music career...this allowed me to move to PDX, where I planned to work for maybe 2 years, then go back to teaching and playing full time. I was a classical saxophonist--).
8 months after I arrived in Portland, I was seriously injured at work while moving a patient during an emergency (a pregnant mom--I work labor and delivery). I tore several muscles in my back and shoulder, several ribs popped out of place, and I have 2-3 bulging discs in my upper back. I had severe impairment and was unable to open and close my right hand, tie my shoes, wash my own hair--I lived all alone and had no family or close friends here yet. I was in excruciating pain, was devastated, as I could no longer play my instruments (saxophone and piano) at all, and was fighting the hospital for worker's comp which they denied me. I lost my case, went bankrupt from inability to work...I lost my car, and was close to losing my apartment. I fell into a deep depression which was exacerbated by medications that were given to me for my nerve pain and depression.
In a moment of desperation, I attempted suicide around Christmas of 2008. I woke up the next morning, and was terrified--wanting to live. I flew back home and stayed with a friend for a while before dusting myself off and heading back to Portland. I promised to work through my injuries and remake myself into a different kind of musician, since my days playing classical music were over.
I dragged my broken body all over town going to various types of appointments for my back (and mind): acupuncture, rolfing, massage, PT, chiropractors...I practiced picking things up with my right hand. Opening and closing drawers, cupboards, tightening bottle caps, etc. I tied my pinky and thumb together with string to form a grip. I worked tirelessly on my recovery. I still do. Eventually I started gaining back feeling and strength. I now have pretty decent motor skills in my hand although it's mostly numb, and excellent strength in my arm and shoulder. My back will never be the same, and will likely always cause me some level of pain--but it's manageable.
As soon as I started feeling a little better, I found a loop pedal that I had used to create some soundscapes and started working with it. I saw a few local musicians using the loop machine to create amazing sounds/layers/songs and knew this is what I needed to do. Eventually I could create lush, orchestrated parts for my songs--and ultimately that's how I heard them in my head! I generally write parts for rhythm section, string quartet, harps, bells/vibes, music box, and backing vocals. I imagine this as my tiny orchestra that lives in my keyboard--and I'm the conductor--placing the parts in loop channels, and cueing them up when there part is needed.
What was the inspiration behind "Heart Fall?”
"Heart Fall" is a song I wrote for nurses, for mothers, and for people who find themselves lost in the pace of life. It's a reminder to check in with yourself, acknowledge yourself, and take time for yourself. When we take a moment and breathe deeply into our tense and overworked bodies, our hearts relax--fall open--and love a little more freely.
Can you tell us more about the “chamber pop” genre you mention in your bio?
Chamber pop is the closest genre I could find that fit my music. I feel a genre is important for describing music (so as not to sound like a pretentious ass by saying my music fits in no genre!) Chamber pop is defined as "music with an emphasis on melody, texture, use of strings/horns/piano/harmonies, and other elements drawn from orchestral music and lounge pop of the 60's". This felt like a good fit. A nice blend of classical musician and singer- songwriter.
Do you feel chamber pop could be or is on the rise in the age of Spotify?
I don’t know if it’s on the rise, but it certainly seems to be a niche. I think there has been a sub culture of this kind of music for a long time--oftentimes showing up in movie soundtracks (Sufjan Stevens, Devotchka). And I think there is definitely a group of listeners who enjoy the challenge and depth of chamber music within accessible and meaningful pop songs.
That being said, what are your career goals as a musician?
I want to make my living completely through music; teaching, performing, and writing. I would like to continue to teach, and maybe have a few more steady students. I want to perform a lot more, in venues that fit my style--like wineries/upscale bars/etc. Venues that have daytime or early evening slots, and a friendly crowd already built in since my audience tends to be age 30+ (Edgefield tasting room, hood river/newberg). Along with some tours on the west coast. As far as writing goes, I want to write for film--or at least get my songs into films).
You’re a huge supporter of the #WomenCrush Music community in Portland and have been very active supporting other artists. Can you tell us about your own little community you’ve developed through teaching?
I have been teaching since I was 16 years old (with a 5-7 year break when I was injured). Currently, I have a private music lesson studio in my North Portland home... My students are ages 3-70, some with special needs--and I teach general music, piano, voice, flute, saxophone, and theory, I also work with students on self-confidence and songwriting. I absolutely adore teaching privately, and love getting to know each student and their own learning style. Music is a gift that we all have available to us, and it brings such joy. Music can help a person process deep emotions, or escape stress for a moment--it can help someone cope, grow, create, and connect. Passing that gift on to as many people as possible is one of my life purposes.
Dani will be releasing her EP Time Space Love on 9/21, with a release show on 9/23 from 3PM-6PM at Kruger's Wine Bar on Sauvie's Island. FREE. ALL AGES. Support & follow her by connecting with her on social media @danitanzellamusic.
Written by: Ashley Kervabon-Stoyanov & Hannah DiMo
#WomenCrush Music To Launch Crowdfunding Campaign To Connect, Educate & Inspire Rising Women Songwriters
New York, NY (September 5th, 2018) - Since the organization’s launch in Spring 2017, #WomenCrush Music’s Founder/Executive Directress Ashley Kervabon and her team (now including over 30 dedicated volunteers) have made it their mission to connect, educate and inspire rising women songwriters. The organization has hosted over 80 events across 13 cities in the USA and Canada including showcases, networking events, and educational workshops, landing them local and national features in notable media outlets such as Lenny Letter, SF Station, KGW News, and more! Now, with a full Board of Directors comprised of radio hosts, national touring artists, and experienced industry professionals, they are ready to take their mission to the next level with a crowdfunding campaign launching through IndieGoGo on Tuesday, September 18th. Donations from the campaign will fund the nonprofit through the remaining months of 2018, and set its' team up to accomplish the goals in store for the new year.
The aim of this campaign is to raise money for the tax exemption application, program costs, merchandise, and staff education. As with most startup nonprofits, the staff has been working out of their passion for the cause, without pay. This crowdfunding campaign, however, will bring #WCM closer to some of its long-term goals which include: providing a salary for the core staff members, stipends for the chapter leaders, competitive base pay for artists and speakers who are a part of ongoing #WCM events, and hiring even more creative women to provide photography/videography services at events.
“This is only the beginning of our ultimate vision for the organization,” says #WCM Founder Ashley Kervabon. “Longer term, I’d love to be able to get A-list celebrities involved in mentoring our artists and promoting the organization. It is also my ambition to award recording scholarships, host songwriting retreats, own properties to accommodate touring women artists, and much more!”
#WomenCrush Music has entered the picture at a precise cultural moment when the value of supporting women is being emphasized by individuals and industries stronger than ever. At the same moment, this concern has brought to light the personal challenges and systemic obstacles many women still encounter in their careers. A recent study cited in Billboard reported that in 2017, 83.2% of artists in popular content were men and only 16.8% were women. Of the study’s sample of 2,767 credited songwriters, only 12.3% were female. Statistics such as these have inspired #WCM to start The Crush blog, where readers can hear stories from women within the music industry; and The #WomenCrush Music Collective, a career-focused Facebook mastermind group. At such a pivotal time, it is no wonder how the #WCM community has flourished. The money raised by this campaign will now be integral to the furtherance of the organization’s promising work.
Please see below for a schedule of upcoming events for September & October 2018:
SHOWCASE - San Jose @ Art Boutiki - Thursday, September 13th, 8PM
SHOWCASE - Portland @ The White Eagle - Wednesday, September 19th, 8PM
SHOWCASE - Nashville @ The Local - Thursday, October 4th, 7PM
Also in October: Stay tuned for the relaunch of the Chicago chapter and the unveiling of a NEW chapter!
In early 2017, Ashley Kervabon organized a live showcase to address the need for a stronger community among women songwriters in Portland, OR. The event’s humble turnout but overwhelmingly positive feedback struck a chord in Ashley. She quickly reached out to women in other cities, who also expressed the need for similar showcase series. Realizing this was an industry-wide gap, Ashley knew it was time to make a change: and so #WomenCrush Music began. Starting with Ashley’s hometown connections in NYC, #WomenCrush Music became a growing vision for women artists and the music industry at large. As the organization expanded to Nashville, and across borders to Vancouver BC, the #WomenCrush mission started attracting artists from across the USA and beyond in search of both local performance opportunities as well as a more expansive network of like-minded ladies. By January 2018, #WomenCrush was present in 13 cities, cultivating communities through events designed to connect, educate, and inspire. Since then, a Lenny Letter feature and big-name partnerships by the likes of SoFar Sounds have established #WomenCrush Music as a powerful positive force in today’s music industry. Ashley, her fellow team members, and a full board of directors look forward to the developments ahead in 2018 and 2019.
To set up a feature, please contact the Founder directly:
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