With so many artists and producers writing or co-writing their own material, there seem to be fewer opportunities than ever for writers and music publishers to pitch and place songs.\u00a0It\u2019s become increasingly important to think outside the box when writing and promoting material\u2014and that includes looking beyond our own borders.<\/p>\n
Songs by artists such as Beyonc\u00e9, John Legend, Katy Perry, Pharrell, and Jason DeRulo are international hits, topping charts around the world. But every country has recording artists whose successes are limited to their territories. These artists can provide important additional outlets for songs.<\/p>\n
How Do Songs Differ Outside the U.S.?<\/strong><\/p>\n Back in the days when songwriting success was an elusive dream for me, music publishers and other industry pros sometimes commented that my songs seemed better suited for the European market. It made me frustrated and angry\u2014because I interpreted that to mean there were elements in my songs that were keeping them from being appropriate for the U.S. market that I had my sights on. In retrospect I see that many of my early songs did not sound consistent with the hits on the radio at the time\u2014but were indeed appropriate for other music markets.<\/p>\n There is no specific style or genre that represents \u201cinternational\u201d music. Songs that are popular outside the United States encompass a vast variety of musical tastes and styles\u2014and what is perfect for one country might not be what\u2019s in vogue in other territories. For example, during the eras when boy bands and disco music fell out of favor in the U.S., these styles still thrived in other countries.<\/p>\n The annual Eurovision Song Contest reaches 195 million viewers in 41 markets. By listening online to the songs chosen to represent various countries, you can glean a sense of current musical tastes in these territories. While Austria\u2019s winning 2014 entry (\u201cRise Like a Phoenix\u201d) is stylistically similar to the dramatic power ballads often associated with Celine Dion, other countries\u2019 entries spanned genres from acoustic folk to the ultra-catchy pop popularized by Abba.<\/p>\n J-Pop and K-Pop<\/strong><\/p>\n J-Pop and K-Pop are wildly popular genres geared to young fans in Japan and Korea, respectively. Many songs that have topped the J-Pop and K-Pop charts would seem right at home on the earliest albums by artists such as \u2018NSync, the Backstreet Boys, Boyz II Men, the Spice Girls, and Britney Spears. Other hit J-Pop and K-Pop songs include elements of bubblegum pop, or the big melodic pop ballads popularized by artists such as Whitney Houston, Peter Cetera, Natalie Cole, George Michael, Janet Jackson, and Madonna. The main common denominator is that they are exceptionally melodic and easy to sing along with.<\/p>\n Songs released in Asia are typically translated to the language spoken in the country where the recording is released. In some instances, a new English lyric\u2014or one that combines the singer\u2019s native language with English\u2014is written. Typically, 20% \u2013 50% of the copyright is transferred to the translator, applicable only for the new foreign language versions. Although your lyric and title might be translated, they are still important, because in many instances, the new lyric\u2014while not being a literal translation\u2014will still be based upon the concept of your original version.<\/p>\n Country Music Outside the USA<\/strong><\/p>\n Country music enjoys popularity in many countries, but what constitutes contemporary country music in Nashville tends to be very different from the country songs popular in other countries. I teach songwriting workshops in Europe, Australia, and New Zealand, and when people learn that I live in Nashville, I\u2019m often told, \u201cI love country music!\u201d When I ask who their favorite artists are, I inevitably hear, \u201cJohnny Cash, Dolly Parton, and Willie Nelson.\u201d<\/p>\n Few of these fans have ever heard a song by Miranda Lambert, Luke Bryan, Jake Owen, Lady Antebellum, Taylor Swift, Keith Urban, or the other artists who regularly top the U.S.\u00a0Billboard<\/em>\u00a0country music charts. But all of the aforementioned artists\u2014including Johnny, Dolly, and Willie\u2014are on the current Australian country music album chart, along with Australian artists such as Adam Harvey and Troy Cassar, and Australia\u2019s \u201cKing of Country\u201d\u2014the late Slim Dusty.<\/p>\n Many of Australia\u2019s and New Zealand\u2019s homegrown country artists emulate the traditional approaches of artists such as Alan Jackson, Hank Williams, George Jones, Buck Owens, and Kris Kristofferson, while others would be considered folk, Americana, or bluegrass artists on Music Row. These acts provide opportunities to place songs that would be considered outside the mainstream, and too \u201ctraditional\u201d for current U.S. tastes. However, there are exceptions such as Australian sister act the McClymonts, who have recorded in Nashville and written with top Nashville tunesmiths.<\/p>\n Each January, the Tamworth Country Music Festival\u2014the world\u2019s largest country music festival outside of Nashville\u2014celebrates Australian country music with ten days of performances by hundreds of artists. Those who attend the festival can immerse in \u201cAussie\u201d country music\u2014and network with recording artists and music business professionals.<\/p>\n Similarly, the country music most popular in England, Ireland, Switzerland, Germany, France, and Scandinavia tends to be recordings by icons such as Patsy Cline, Loretta Lynn, Willie Nelson, and Johnny Cash. There are also contemporary sounding country artists in these territories, but their sales and airplay are typically not significant.<\/p>\n Rolf Schnyder runs Liva Music, an independent publishing company in Switzerland that focuses on providing European country artists with songs. According to Rolf, \u201cThe main difference here is \u2026 I have the feeling, that the lyrics aren\u2019t as important as they are in Nashville. I think the music is more important for the artists than the lyric. If the music fits then they take the song even if the lyric isn\u2019t great. The country artists are also looking if the songs are danceable, since we have a good line dance scene here in Switzerland.\u201d<\/p>\n Canada\u2019s country music charts closely mirror those of its southern neighbor, with the same current Nashville stars enjoying success in both countries. However, Canadian artists, such as Dean Brody, Jess Moskaluke, and Dallas Smith, whose styles are consistent with their Nashville counterparts, garner significant success limited to Canada.<\/p>\n Lyric Considerations for the International Market<\/strong><\/p>\n When writing songs intended for artists outside the U.S., and when pitching existing catalog songs, it\u2019s important to avoid lyrics that are applicable only to America. According to songwriter\/publisher Bob Dellaposta (more than 2,500 songs recorded all over the world), \u201cLyrically, keep the subject matter universal \u2026 having a good time with friends, falling in love, falling out of love. Writing about our\u00a0American soldiers\u00a0or writing patriotic songs about the red white and blue isn\u2019t going to fly. The top\u00a0country acts in Europe sing about the same things we do here in this country; they drink beer and go to the lake, and they like to party and go out dancing. Line dancing is still big across Europe. My best advice is research the artist and listen to what they\u2019ve released and had success with.\u201d<\/p>\n Dellaposta continued, \u201cThe songs I\u2019ve had success with outside the USA all had one thing in common\u2014they were all catchy, memorable and easy to dance to. They like\u00a0strong, hooky choruses, whether it\u2019s a sad, crying-in-your-beer-song, or a happy I\u2019m-in-love song \u2026 K.I.S.S. (keep it simple stupid) works best in my opinion. Avoid complicated\u00a0rhyme schemes, meter,\u00a0chord\u00a0progressions and alternative forms\/structures.\u201d<\/p>\n It\u2019s also best to avoid references to products and locations, such as Dairy Queen, John Deere, Nacogdoches and Chevy, that are probably not familiar to audiences outside the U.S.<\/p>\n How to Place Songs Outside the U.S.<\/strong><\/p>\n One way to learn about international artists seeking songs is to subscribe to tip sheets. Bob Dellaposta shared, \u201cI subscribe toSonglink<\/em>\u00a0and\u00a0Songquarters<\/em>. These pitch sheets list both indie and major acts from around the world, covering every genre\u00a0with contact info and submission info.\u201d<\/p>\n He advised, \u201cIf they say no mp3\u2019s then don\u2019t send an mp3 unless you first ask permission. Some say links only; some say CD\u2019s only. Be professional and don\u2019t e-mail them every three days to ask if they\u2019ve listened. It\u2019s been my experience that no news is usually bad news; they will contact you if there\u2019s an interest.\u201d<\/p>\n Dellaposta also suggested, \u201cIt\u2019s important to understand the mechanical licensing process outside the U.S. It\u2019s also good advice to get a good copyright administrator to issue the license or the Harry Fox Agency.\u201d<\/p>\n Attending the annual MIDEM conference in Cannes, France can be an effective way to learn about and place songs with international artists and publishers. With attendees from more than 75 countries, more than 120 conferences, artists\u2019 showcases, and exhibitions, MIDEM provides exceptional networking opportunities. Countless business relationships have begun there, and licensing and publishing deals have been signed. But as is the case in the U.S., there are no rules or easy answers when it comes to placing songs.<\/p>\n A recurring theme I heard when I asked writers how they garnered their international successes was that it was important to be represented by publishers or managers located in foreign territories. A U.S. publisher or manager with an international focus can also make a big difference. Collaborating with writers and artists in other countries has led to cuts for many writers.<\/p>\n Grammy nominated writer\/producer Chris Sernel (aka Oh, Hush!) whose songs have been recorded by artists including Jason DeRulo and CeeLo Green underscored this. \u201cI have a cut coming out in Korea later this year with an artist known as \u201cThe Paul McCartney of Korea.\u201d We wrote the song for someone like Enrique Iglesias or Jason Derulo. My cowriter is published both in the U.S. and also in Asia, and his Asian publisher placed it.\u201d He said that a \u201cplatinum\u201d cut in Sweden with Loreen happened because his publisher sent the song to their Stockholm office.<\/p>\n BMI songwriter\/publisher Michael Garvin who has written (18) top-10 singles including (6) #1\u2019s shared that after a string of country successes, and a big dance hit in the U.K., a BMI representative in the London office helped him arrange a visit and collaborations in London. That led to his signing a publishing deal with Miles Copeland in the U.K. He met his main collaborator\u2014a major star in Belgium\u2014at a writing retreat in the south of France, organized by Copeland. Garvin signed subsequent deals with Warner\/Chappell in Munich, Sony in Stockholm, and EMI in Brussels.<\/p>\n Garvin spends approximately half his time in Europe, and stressed the importance of collaborating with writers and artists in the territories. He commented, \u201cMusic is different, but not better or worse in other countries. Study the individual marketplaces; know who the artists are who are having hits, and find out what you like about those records. If you\u2019ve got the ability to morph and write different styles, that\u2019s beneficial.\u201d<\/p>\n When asked what advice he\u2019d give writers hoping to break through internationally, Garvin stated, \u201cUse every contact; every connection; every opportunity\u2014because you don\u2019t know what will be the magic bullet.\u201d<\/p>\n