Introduction

Today, more musicians are making music on their own as DAWs and home recording are easier to access. Musicians like Billie Eilish create songs from their own bedrooms, and as I am on the Pop with Production course, I want to be able to write, produce, and perform my own songs in the future. I like the idea of doing everything myself because it makes the music feel more personal and honest. Charlie Puth (2022) said something similar, stating that working with too many collaborators made his songs feel less like his own. When he met Elton John, Elton told him that he was working with too many people and that he should go back to making music on his own (Weatherby, 2022). This is one of the main reasons why I am researching this topic, as it reflects what I want to do now and in the future.

Qualifications/Experience required

Music degrees can be helpful for developing technical skills, but they are not essential. Gaining practical experience is more important. Hernandez (2020) stated that independent artists benefit from being able to write and record their own songs, as well as producing full tracks from scratch. Kinsher (2025) also emphasizes the importance of performing live and promoting music, as these help artists to build an audience without relying on a label. Collaboration is another key area of experience, as working with different artists helps with adapting to different characteristics. Russ Titelman (2023) says that every artist works differently, so producers need to be flexible and adjust to each musician’s style. Understanding how performers respond to different types of guidance can help create a relaxed and positive studio environment. With more studio experience, producers develop better on how to encourage an artist and help them give their best performance (Redman, 2023). Finneas explained that part of his job as a producer is encouraging Billie to deliver her best on every song, saying it is important to push artists to reach their full potential (Willings, 2021).

Independent artists often take on multiple roles, combining songwriting, recording, producing and performing. This may involve co-writing with other artists, recording and singing tracks and rehearsing for live performances. Producer Mark Bright (2023) stated that at a high level in the industry, he spent almost every day making tracks, recording, or working on new music. When he is not recording, he is writing songs or listening to songs from other songwriters (Redman, 2023). This shows that songwriting and production often go together. Producer also guides the recording process, helps choose the best songs, brings in musicians if needed, and shapes the arrangement by adding musical elements to create the final sound (Redman, 2023). Being a vocalist or instrumentalist gives a different perspective on production. As Rudiger (2014) stated, “Lots of artists come to me because I ‘get’ the singing part. I understand them being a singer and can really help them sound better and/or arrange vocals” (Airgigs,2014). This perspective helps production to be more effective because as performers themselves, they have a better sense of what should sound right.

Knowledge/Skills needed

For singer-songwriter-producers, music theory is important because it links all parts of the creative process. With the roles above, theory becomes a very important skill. As Dave Isaacs (2017) explains, theory is not a set of rules, but a way of understanding how melodies, chords, and harmonies work together. This deeper understanding helps artists perform more confidently as they understand the harmonies and chords behind it. It also supports more original songwriting, as artists know a wider range of chords, harmonies, and melodic ideas. Knowing musical structure allows artists to shape arrangements, decide when instruments should enter, and communicate ideas more easily in the studio (Isaacs,2017). Ken Scott stated that even without playing an instrument himself, he was able to help shape arrangements for artists like Supertramp because he understood how musical parts should fit together, showing how important musical knowledge is for decision-making in production (Golding, 2012). Mark Bright also explained that much of his work involves deciding where instruments should play or remain silent, which depends on understanding harmony, texture, and song structure (Redman, 2023). These examples show that music theory strengthens all aspects of an artist’s work, helping them write better songs, arrange them effectively, and bring them to life in performance and production.

Knowing how to play an instrument also helps with songwriting and arrangement. As I mentioned in my introduction, I hope to handle most of the creative work myself so that  the final product feels fully my own. Learning keys is especially useful because it allows me to write and arrange everything using MIDI. In an interview, Charli XCX described Charlie Puth as someone who can play many instruments and has a strong understanding of musical structure and theory (Milzoff, 2018). This connects back to the importance of music theory and arrangement, which leads into my next point about recording and layering instruments and vocals.

In Lauv’s video “how i made i like me better” (Lauv, 2017), he shows himself layering instruments and vocals, which demonstrates how knowing instruments helps and how all these creative skills are connected. The video also shows his understanding of arrangement, songwriting, and production. He uses different synths to create the sounds in his track, showing how useful sound design can be. His mixing and mastering skills are also clear, for example, in the intro he adds heavy reverb to a vocal sound so it almost becomes a synth, while keeping the pitch so listeners can still tell it came from his voice (Lauv, 2017). Lauv writes his own lyrics too, and this song in particular is about his first experience falling in love during university. Being honest is an important part of his songwriting. As Lauv explained, doing what feels true to you matters most, and if your music feels real, people will connect with it and share it (Yglesias, 2020).

Billie Eilish and FINNEAS show how important DAWs and recording skills are for musicians today. They created their Grammy-winning album in a small bedroom studio using simple gear and Logic Pro, proving that artists do not need expensive studio spaces to make high-quality music (Low, 2020). Working from home also shows why it is useful for artists to learn software like Ableton, Logic Pro or Pro Tools, not necessarily to an expert level, but enough to feel comfortable using them in different situations. Basic mixing skills, such as balancing levels, using EQ, adding reverb and managing dynamics, help make tracks sound clean and polished.

Promotion and Career Progression

With these skills, the next stage is promotion.There are many ways for musicians to promote themselves and their music. Creating an electronic press kit (EPK) is important, as it shares music, photos, videos, and a bio with performance footage in a professional way (Suta, 2023). Knowing the audience helps to focus on promotion for the people who are most likely to connect with your music (ibid.). In today’s digital world, a strong online presence is important, as it makes fans feel more connected through direct engagement by posting regular updates and behind-the-scenes content (ibid.). Hosting live gigs lets fans experience your performances in person, while streaming platforms help your music reach a global audience and keep fans engaged long-term (ibid.). Finally, attending events such as networking sessions can help musicians meet professionals and find collaborators, giving more opportunities (ibid.). 

Career-progression and development opportunities often come from the skills musicians learn and the roles they take on. Songwriters and producers can grow their careers by writing and producing for other artists, as well as for films, video games, or advertisements (Musician Institute, 2024). Collaboration creates opportunities to share ideas and learn new skills, as Rudiger’s co-writing with producer Rob Fusari shows, improving both songwriting and production skills (Blacker, 2014). Musicians can also use their performance skills by working as session musicians. As Rudiger stated, “I usually sing on 3 to 4 tracks a week, produce 1 song and rehearse with the band” (Blacker, 2014). Finally, mentoring and teaching, whether in performance, composing, or production, gives musicians a chance to share knowledge and help others develop. Taking advantage of these opportunities can lead to a long-lasting and growing career in music.

Copyright

Copyright, a major topic in the music industry, is automatically created as soon as a song is written but if an artist does not register their work with the right organisations, they can lose out on royalties, struggle to prove ownership, or face difficulties collecting income from radio play, live shows, streaming, and international royalties (Mateus, 2025). For songwriters, copyright covers the composition which is the melody, chords, and lyrics. Songwriters earn royalties that are normally split into a Writer’s Share (50%) and a Publisher’s Share (50%), unless they have signed a publishing deal (ibid.). To actually receive performance royalties, songwriters must register their songs with a performance rights organisation (PRO) (ibid.). For singers and performers, copyright relates to the sound recording. In the UK, organisations like PPL collect performer royalties, and featured performers usually receive about 65%, while non-featured musicians, such as session players, receive a smaller share (30%) (ibid.). Producers are also tied to the rights of the sound recording, often referred to as the master. Unless they are hired under a work-for-hire contract or sign away their rights, producers can own 100% of the master and earn royalties from streaming, sales, and licensing (Mateus, 2025). To collect income from broadcasts, masters must be registered with a neighbouring rights society (ibid.). Some producers take an upfront payment, instead of earning royalties. This gives them quick money, but it means they might earn less because they will not get paid every time the song is streamed or used (Redman, 2023).

Figure 1: Diagram showing Blanket Licenses (Harrington, 2025)

In collaborative projects, it is important to agree on splits and document everything when working with session musicians, vocalists, or engineers. On the other hand, an artist who writes, produces, and performs all their own material  can keep full ownership of all three areas: composition rights, master rights, and performer rights (Mateus, 2025). Independent musicians face significant financial challenges because they are responsible for covering most of their own expenses. Unlike artists signed to major labels, independent artists must pay for equipment, software, studio time, music videos, promotion, and live performances. Jackson (2025) reports that the average unsigned British artist spends around £8,449 annually on these costs. Rising expenses and financial pressures have left many artists worried that they could be forced out of the industry (Jackson, 2025). As a result, industry professionals often rely on multiple income streams, such as performances, composing and teaching as royalties alone are insufficient to cover their expenses. Artists like Billie Eilish show how home production skills can reduce the cost of professional studios while still producing high-quality music (Low, 2020). Although independent musicians enjoy greater freedom, they also take on full responsibility for managing expenses and taxes.

Challenges

Stage fright is one of the most common personal challenges faced by musicians, and it can affect confidence and performance. Horwitz and Valtasaari (2025) explain that stage fright is a natural stress reaction that causes both physical and emotional symptoms, such as shaking, worry, and tension. Their study shows that many musicians experience this even when they are well-trained. Stage fright does not disappear on its own, musicians need practical strategies to manage it. Horwitz and Valtasaari (2025) recommend simple techniques such as deep breathing, accepting the feeling of nervousness, using positive memories of past performances, and visualising a successful outcome. They also stated practising these skills regularly helps musicians stay calmer and perform with greater confidence (Horwitz & Valtasaari, 2025). This shows that stage fright is normal, but with the right mindset, it can be controlled effectively. Another challenge is not knowing how to use the mixing desk but this could be overcome with practice and trial and error. Manny Marroquin’s (2015) experience shows that this can be learned over time. He stated that he experimented with small 8‑track machines at a music shop, trying out and learning from his mistakes as a teenager. He later got a job at a professional studio, where he spent lots of time watching experienced engineers and gradually took on mixing tasks. Through real sessions and repeated practice, he eventually developed his expertise on the mixing console (Crane, 2015).

Conclusion

In conclusion, learning as many skills as possible is important because in the music industry, there are always side roles in addition to a main source of income and these skills are useful when no one else can help. Collaboration provides more opportunities to learn new skills, but it is also important to clearly document agreements and splits to avoid any financial problems. With rising expenses, DAWs and home studios allow musicians to write and produce music without extra financial pressure. Using these skills and tools, musicians can build a stable and independent career in the industry.

Bibliography

1. Blacker, D. (2014). Interview with vocalist, Songwriter & producer Rudiger, The AirGigs Music Production Blog. [Interview]. Available at: https://blog.airgigs.com/2014/05/interview-with-vocalist-songwriter-producer-rudiger/ (Accessed: 10 December 2025). 
2. Crane, L. (2015). Interview with Manny Marroquin & Larry Crane. [Video]. Available at: https://youtu.be/mURPNkPIeCM?si=OSk28YqVAYth2Htq  (Accessed: 09 December 2025).
3. Crane, L. (2015). Manny Marroquin, Tape Op Magazine. [Interview]. Available at: https://tapeop.com/interviews/109/manny-marroquin  (Accessed: 09 December 2025).
4. Golding, C. et al. (2012). Interview with Ken Scott, Journal on the Art of Record Production. [Interview]. Available at: https://www.arpjournal.com/asarpwp/interview-with-ken-scott/ (Accessed: 09 December 2025).
5. Harrington, G. (2025). Lecture 8: Copyright and Music Law. [PDF]. Leeds Conservatoire. (Date delivered: 17 November 2025)
6. Hernandez, R. (2020). Six skills all indie musicians need Today, Forbes. [Article]Available at: https://www.forbes.com/sites/robonzo/2020/06/24/six-skills-indie-musicians-need-today/  (Accessed: 10 December 2025).
7. Isaacs, D. (2017). The practical value of music theory, Musical U. [Article]. Available at: https://www.musical-u.com/learn/practical-value-music-theory/  (Accessed: 09 December 2025).
8. Jackson, B. (2025). UK music: the financial reality for unsigned artists in 2025 – as expert says ‘it’s harder than ever’, The Yorkshire Post. [Article]. Available at: https://www.yorkshirepost.co.uk/whats-on/arts-and-entertainment/uk-music-how-much-does-it-cost-to-break-through-amex-unsigned-4965508 (Accessed: 10 December 2025).
9. Kinsher, P. (2025). How to grow as an independent artist, Disc Makers Blog. [Article]. Available at: https://blog.discmakers.com/2023/07/how-to-grow-as-an-independent-artist/ (Accessed: 10 December 2025).
10. Lauv (2017). how i made i like me better [Video]. Available at: https://youtu.be/jaEm1-JCXio?si=PXLH61xwZtI4laXg  [Accessed: 20 November 2025]. 
11. Low, C. (2020). Billie Eilish proved anyone can access Grammy-winning gear, Engadget. [Article]. Available at: https://www.engadget.com/2020-01-27-billie-eilish-grammy-2020-bedroom-studio-logic-pro-x.html (Accessed: 10 December 2025).
12. Mateus, M. (2025). Music royalties explained: How to get paid for every play, Supertape. [Article]. Available at: https://www.supertape.com/blog/music-royalties-explained-how-to-get-paid-for-every-play (Accessed: 21 November 2025).
13. Milzoff, R. (2018). Charlie Puth takes charge: The ‘attention’ singer on his new critical acclaim and why his first album was ‘not me at all’, Billboard. [Article]. Available at: https://www.billboard.com/music/features/charlie-puth-voicenotes-interview-billboard-cover-story-2018-8097384/ (Accessed: 10 December 2025).
14. Musician Institute (2024). Beyond the Stage: Alternative Career Paths for Musicians, Musicians Institute. [Article]. Available at: https://www.mi.edu/in-the-know/beyond-stage-alternative-career-paths-musicians/  (Accessed: 22 December 2025). 
15. Redman, M. (2023). The music producer, Music Connection Magazine. [Interview]. Available at: https://www.musicconnection.com/the-music-producer/ (Accessed: 09 December 2025).
16. Suta, A. (2023). 10 Essential PR Strategies for the Independent Artist. Medium. [Article]. Available at: https://medium.com/music-marketing-pr-magazine/10-essential-pr-strategies-for-the-independent-artist-28dfba63ed85 (Accessed: 10 December 2025). 
17. Tingen, P. (2022). Charlie Puth , Sound On Sound. [Article]. Available at: https://www.soundonsound.com/people/charlie-puth (Accessed: 20 November 2025).
18. Weatherby, T. (2022). Inside Charlie Puth’s new album ‘Charlie’: How Elton John, tiktok & a busy mind helped create his proudest work yet, GRAMMY. [Article]. Available at: https://www.grammy.com/news/charlie-puth-new-album-inspirations-tiktok-interview-elton-john-light-switch-loser-video-songs-voicenotes (Accessed: 20 November 2025).
19. Yglesias, A.M. (2020). kLauv gets real: ‘focusing on doing the most authentic thing to you is the most important’, GRAMMY. [Article]. Available at: https://www.grammy.com/news/lauv-gets-real-focusing-doing-most-authentic-thing-you-most-important (Accessed: 20 November 2025).