I have chosen the business plan route to outline the launch of my debut EP under my artist name, Freddie Rose. This plan will cover the creative, operational, financial, and promotional strategies required to deliver a professional and impactful release. 

Artist elevator pitch: Freddie Rose is a contemporary artist and songwriter whose sound blends Neo-soul and R&B with jazz-infused harmonies and textures. Writing all original material, her music aims to entice the listener with innovative top line melodies and connect through emotionally honest and resonant storytelling. 

The EP is a deeply retrospective exploration of romantic love, capturing its beauty, complexity, and contradictions from the perspective of someone in their late teens. Each track presents a different facet of love’s emotional spectrum, creating something both intimate and broadly relatable.  

This release marks the official beginning of my career as a recording artist, and my first step toward building a thoughtfully curated discography. 

The debut EP, Somewhere Between Then and Now, will feature four tracks split into an A-side and B-side. The A-side will focus on the upbeat, celebratory aspects of love, while the B-side will explore its more vulnerable, introspective dimensions, aiming to provide a dynamic listening experience.  

Production will be a collaborative effort with friends who are musicians and producers, supplemented by professional mixing and mastering to ensure a polished final product.  

I’ll design the EP artwork myself and work with a photographer for promotional images, creating a cohesive online presence. Ultimately, the EP aims to foster an authentic connection with my audience, offering a relatable portrayal of self-discovery as a young 19 year old. 

The primary target audience for this EP consists of young individuals in their late teens to early twenties, navigating the transition into adulthood. I feel my iauthentic storytelling connects to this demographic as they often seek music that is relatable.  

These listeners are highly active on platforms such as TikTok, Instagram, and YouTube, where music discovery often intersects with fashion, lifestyle, and personality-driven content. I intend to engage this audience through regular visual content, such as short vlogs, performance videos, and other creative forms in posts that reflect my wider artistic identity. 

Musically, my sound is likely to appeal to fans of artists such as Joy Crookes, Jorja Smith, and Amy Winehouse. Artists known for blending rhythm, soul, and lyrical depth. This provides a clear indication of both stylistic alignment and market potential. 

The contemporary music landscape has seen a marked resurgence in sub-genres of R&B, particularly Neo-soul, as they evolve and merge with modern sonic elements. This evolution presents a unique opportunity for emerging artists like myself to contribute to a genre that is both nostalgic and forward-thinking. As one article on Medium insightfully states: 

“To say neo-soul is a dead genre would be a false statement…. Neo-soul has adapted to its environment within the music world and is constantly being reborn and created as a newer version of itself.” 

Further supporting this is an article from Sesh FM, which emphasises the increasing demand for authentic personal storytelling in R&B music: 

“As the music industry becomes more saturated…Authenticity in lyrics and storytelling will become even more crucial.” 

This strongly resonates with my artistic approach. I prioritise vulnerable narratives in my songwriting, and this alignment between my personal values and market expectations gives me confidence in my place within the genre. 

Contemporary artists such as Joy Crookes have recently demonstrated the commercial viability of this style, with her track “Pass the Salt” surpassing 2 million streams on Spotify in early 2025. Meanwhile, platforms like BBC Introducing on 1Xtra and Spotify editorial playlists continue to spotlight rising Neo-soul and R&B talent, providing valuable exposure pathways. 

Additionally, current online cultures foster a collective enthusiasm for supporting independent musicians. Many listeners now take pride in discovering and championing emerging talent, and the authenticity that smaller, self-releasing artists can offer. This creates a unique opportunity for me to begin building a grassroots fanbase who feel personally connected to my growth. 

Within both the local independent music scene and the wider UK landscape, several artists can be identified as direct or indirect competitors to my project. Locally, I’ve attended live shows from artists in a similar space, many of whom presented strong performances and successfully engaged audiences through visually striking promotional materials and creative event branding. Observing these artists has informed my own approach; I intend to invest in similarly eye-catching gig posters and promotional assets when staging live performances to promote my debut EP. 

The second semester group work seminars helped me iron out some last hurdles of my business plan, including identifying my USP, and how to incorporate my fashion endeavours. Suggested by my leader Tim Malkin was to go back and take a look at my creative and musical inspirations, and if or how they have done this successfully.  This led me to deeply look at my previously mentioned inspirations, realising those like Amy Winehouse and Celeste have also established strong identities through distinctive fashion and visual aesthetics, contributing strength to their personal brands. This helped me realise developing a clear visual identity of my own is a priority of my overall artist brand rooted in fashion, colour, and creative direction, which will help me stand out across platforms. This intrinsically links the other topic I wanted to discuss, my USP. As well as creating an overall artistic image, a fellow student, Alex Howell, commented on how I mentioned I felt my music doesn’t neatly sit into one specific genre. We discussed what genres I take inspiration from, and topics I cover lyrically. This is when my lyrical narrative that tends to be very vulnerable and personal, was suggested by another fellow student to also be part of my USP. 

Both of these points helped me clearly identify my market, and over aims for the project as a whole: 

Where I believe my project offers a unique contribution is in the blending of genres, fusing Neo-soul and R&B with contemporary jazz influences, alongside a distinctly Gen Z perspective. By combining authentic lyrical content, genre fusion, and a highly visual artist identity, I aim to position myself in a space that feels familiar yet fresh, complementary to my inspirations, while offering something uniquely my own. 

The process involves several key stages: songwriting, recording, production, mixing and mastering, artwork creation, distribution, and promotion. With the writing process already completed, the next stage will involve recording.  

All session musicians will be sourced from within my existing network of collaborators, and I will also work with a producer from within my circle to assist in the initial recording phase. However, to ensure a high-quality final product, I intend to engage a professional mixing and mastering engineer from outside my personal network.  

Recording will take place at Leeds Conservatoire, using the university’s professional-grade studio facilities, which I have access to as a student.  

Based on recommendations from fellow independent artists Distrokid provides straightforward access to platforms such as Spotify, Apple Music, and Amazon Music at an affordable annual cost. 

Visual content and artwork will be self-produced. I also plan to hire a professional photographer for select shots to elevate the EP’s visual identity and create diverse promotional materials. 

A launch gig will be planned, through me contacting local venues, and sourcing potential support acts. Where necessary, equipment will be borrowed from university resources or provided by performers themselves. 

Key individuals involved in the project include: 

• Myself, the primary artist, songwriter, and creative lead 

• Session musicians who’ll perform instrumental parts on the recordings 

• Producers responsible for recording, mixing, and mastering the final tracks 

• A photographer for professional images used in promotional campaigns 

Technical Requirements: 

For the launch event, live performance equipment will either be provided by the venue or sourced from university equipment stores. 

The following materials will be developed to support the EP: 

• EP cover artwork 

• Promotional posters (digital and printed) 

• Social media graphics and templates for announcements 

• Promotional videos or visual content for TikTok and Instagram 

Timeline: 

• Recording (including instrumentals and vocals): ~6 weeks 

• Post-production (mixing and mastering): ~2 months 

• Promotional rollout: 4–6 weeks prior to release 

• One single will be released one month ahead of the full EP.  

• A launch gig will align closely with the release date. 

Financial Costs: 

Key areas of expenditure will include: 

• Distribution fee (e.g. DistroKid annual subscription) 

• Professional mixing and mastering 

• Photography sessions 

• Printed promotional materials 

• Venue hire and live event costs 

These resources are being carefully managed to maintain a low-budget, high-impact release, leveraging personal networks and university facilities to reduce costs while maintaining a professional standard. 

Primary online platforms will be: 

• Instagram: used to share curated visual content such as fashion-forward photoshoots, track artwork, cover designs, and key announcements. 

• TikTok: a platform for relaxed, engaging interaction. Here I will share acoustic versions of tracks, behind-the-scenes clips, mini-vlogs, and informal storytelling about the meaning and creation of each song. 

• YouTube: used for longer-form content, including music videos, stripped-back performances, and documentary-style content that allows the audience to connect with the EP on a deeper level. 

A lead single will be released approximately one month prior to the full EP launch to generate anticipation. The rollout will include pre-save campaigns, countdown posts, and a series of storytelling reels to provide insight into the process behind the music. 

In-Person Promotion: 

Offline strategies will involve performing at local open mic nights in the lead-up to release and reaching out to fellow emerging artists to act as a support act for their headline gigs. I also plan to distribute printed promotional posters and flyers in key creative hubs around my hometown and university city (Leeds), building local visibility. 

Press and Media Outreach: 

I aim to submit the single and full EP to BBC Introducing (both in my hometown and Leeds), alongside reaching out to local press outlets and online publications covering emerging R&B/Neo-soul artists. I also plan to identify relevant Spotify editorial playlists and apply through my distributor (e.g., DistroKid’s “Spotify for Artists” access) for playlist consideration. 

The costs for producing, promoting, and launching Somewhere Between Then and Now have been carefully calculated, emphasising on keeping expenses low while maintaining a high quality standard.  

Estimated Costs: 

• Distribution (DistroKid subscription): $40 annually (approx. £30) 

• PRS Membership (one-time fee): £100 

• Mixing and Mastering: Maximum of £300 for professional services 

• Photography: £200 for a 1-hour studio session with a 20% discount, allowing for 10 high-quality shots 

• Printed Promotional Materials: £28 for 100 printed flyers 

• Launch Gig Venue Hire: £150 for booking the Hyde Park Book Club, a well-known live music venue in Leeds 

Funding Costs: 

These costs will be covered through a combination of personal savings, earnings from a part-time job, and a bursary from the Leverhulme Trust awarded for my work as a young songwriter. This will allow me to maintain the necessary budget for a successful EP launch. 

Revenue Strategy: 

The main revenue sources for this project include: 

• Ticket sales from the launch gig, priced at £8 per ticket.  

• Streaming revenue generated from platforms like Spotify and other digital streaming services, via PRS for performance rights. 

Breakeven Analysis: 

To cover the full cost of the launch, including the production, photography, promotional materials, and gig, I aim to sell 100 tickets at £8 each. This would yield £800, which would cover all my listed expenses. 

Cost-Saving Measures: 

Several strategies are being employed to reduce costs: 

• Utilising university facilities for free access to recording equipment and studio time 

• DIY artwork creation and promotional material design with the help of a family member who is a graphic designer 

• Leveraging personal networks for musicians and collaborators to minimize additional session fees 

• The discounted photography deal allows for a professional photo shoot without exceeding the budget. 

Copyright and Song Ownership: 

All compositions for the EP Somewhere Between Then and Now are written by me, and I retain full copyright ownership of my works. To safeguard my rights as a songwriter and performer, I will have registered with PRS for Music. This ensures I retain copyright ownership of my compositions and can collect royalties for any performances, broadcasts, and streams of my music. 

Music Distribution and Digital Platforms: 

I will distribute my EP through DistroKid, which not only ensures my music is available on multiple streaming platforms, but also provides essential legal protection and tracks royalties for each stream. 

Public Liability Insurance: 

As part of my live performance plans, I’ll check whether venues I perform at have public liability insurance. If not, I’ll secure this insurance to protect against any accidents or damages that may occur during my live events.  

Collaborations and Written Contracts: 

For all collaborations, I’ll ensure that written contracts are in place. These contracts will outline the division of royalties and clarify ownership rights to the music and any associated content, helping ensure transparency and avoid future conflicts.  

Additional Legal Considerations: 

If my music project grows into a more formalised business in the future, I may consider registering as a sole trader or exploring other business structures to better manage taxes, income, and expenses. This would also allow me to maintain a clear distinction between my personal finances and business activities.