Category Archives: Music Business

Today’s FFM Stage belongs to ENTERFIRE and ‘Slave of Time’

ENTERFIRE was created by NIKI B (Nicholas Nikoloudis) in 2017. It is a project which talks mostly about the time that is passing without mercy and the world which is changing continuously. The songs crafted meticulously combined with powerful lyrics have resulted in melodic metal with trash influence. The vocals can change from clean to brutal, scream and distorted depending on the feel of the song.

The videoclip for the band’s new single ‘Slave of time’ was shot at the ancient theatre of Thassos island in Greece. Many thanks to Thomas Doukinitsas who directed and shot the music video.

The leader of the band, Niki B, was born in Wales, UK, but he was raised on a greek island. From a youngster he grew up in a musical environment thanks to the rock bar owned by his family. He was deeply inspired by all the metal gods he was listening to and it did not take long until he started to feel the attraction of guitars. During his teenage years he played lead guitar and vocals in different bands, performed in live shows and recorded albums.

Slave of time
Out now at Apple Music

​He knew where his dreams would lead him from a young teenager and in 2014 he decided to move to London to study music in a professional environment. From the time he started to master the guitar professionally he had to learn different styles and genres of music which took his techniques to a different level. On gaining new skills he explored innovative ways to produce new material. ​

Always wanting to evolve as an artist, Niki B became interested in the field of music production. From the moment he produced his first song he gained knowledge and he developed himself, until nowadays he is composing, recording and mastering his own music in his music studio.​

Kunal, the bassist of ENTERFIRE, remembers when his love for music began “back to 1994, when my dad popped in Aerosmith’s – ‘Get A Grip’ into the car cassette player I was mesmerised by the gorgeous tones of a guitar through a Marshall Amplifier”. He started playing guitar in 2007 and followed a Pro Guitar course and a production and sound engineering course. He played bass for different bands, but also served as a producer and vocalist. “My preferred genres are, Punk, Classic Rock and Heavy Metal. My influences include Black Sabbath, Led Zepplin, AC/DC, Deep Purple, Motorhead, Anthrax, Kiss, Aerosmith, Guns N Roses, Pantera, Ozzy Osbourne, Blink 182, Sum 41.”

The rhythm guitarist, Ioakeim is the youngest member of the band and he discovered heavy metal, metalcore, thrash metal and death metal at the age of 12. By the age of 15 he was already playing in melodic death metal bands as a lead guitarist and bassist. In 2016 he moved to London to study guitar at the British Institute of Modern Music. He finds his inspiration in bands such as Pantera, Avenged Sevenfold, Death, Sodom, Venom, Rotting Christ, Amon Amarth, Lamb of God, Slayer, Megadeth and Judas Priest. 

Nick started playing drums at the age of 8 and during high school he was rocking the bars with his band. He decided to move in the UK at 18 and joined a BA creative musicianship course at Bimm London. “Through my time there I studied some interesting modules such as instrument technique , creative technology application and the basics of using Ableton and Logic software to create and record music.” His inspiration is coming from drummers such as John Bonham (Led Zeppelin) , Nicko Mcbrain (Iron Maiden), Mike Portnoy (ex Dream Theater).

Visit ENTERFIRE by clicking here

FFM’s Indonesian Ambassador, Dita Nurdian has released a new track – Soba Ni Itai Yo

Dita Nurdian
Dita Nurdian

Soba Ni Itai Yo (feat. Maniac Mac) – Single

Dita Nurdian
Click to hear on itunes
Also’ you can listen my music on Tidal, iHeartRadio, Google play Music and many more
And this is my social media link :

FFM Ambassador for Indonesia – Dita Nurdian

Introducing – Soulfully Yours Music – Jacqueline Langston MEd

Jacqueline Lewis LangstonMSEd @Soulfully Yours Music… letthemusicplayon.

Posted by Soulfully Yours Music on Thursday, 13 April 2017


Jacqueline Langston MEd
Jacqueline Langston MEd

Soulfully speaking… it has been said that Music is the universal language and singing presents opportunities to bring family, friends and other cultures together to capture priceless moments

  • Local live sophisticated soulful sounds of  music/singing.

  • A little something extra to make your Themed Social Event or Wedding memorable.

  • Creative Atmosphere of Nostalgia- Romance and Sense of Occasion.

Soulfully Yours Music

Visit our Facebook page


Join the fastest growing and most dynamic International Musicians Community – FFM on Facebook

Join Freedom For Musicians at our Facebook Home

Freedom for musicians is an international cooperative for musicians to share and cross promote each other’s work. In our Facebook group you can promote your gigs, products and
services to an international audience. You can also feature on our website

What Freedom for Musicians can do for you:

By joining the Facebook group you are automatically a member of FFM.

You can have your music blog or articles published on the website.

You can have your music videos and youtube channel published and promoted at FFM.

You can list your products and services on our musicians directory and in the musicians market.

You can publish your events and concerts on our Upcoming Events feature.

You can be a featured artist.

You can become an FFM Ambassador for your country.

Music students can featured in our Spotlight.

You can release your digital music via our own independent record label FFM Records.

Come and join FFM’s Facebook community and be part of the fastest growing and most dynamic international musicians network.

45 minutes ago

Freedom for musicians is an international cooperative for musicians to share and cross promote each other's work. On our FB page you can promote your gigs, products and
services to an international ... See more

1 hour ago

It is with great excitement that I introduce to you the
FFM Live Lounge.
You will soon be able to live stream your gigs, sessions and broadcasts directly on the FFM website Live Lounge. This will ... See more

7 hours ago
Sounds Of Brass

Sounds Of Brass

8 hours ago

Let's welcome our new members:
Chubroc Champion,
Dalvines Alvin Milimu

11 hours ago
Wes Mane - Intro (Music Video) - Sessions Vol. 1

issssssssa Intro

Wes Mane Intro Sessions Vol. 1 View all Music by Wes Mane at Instagram - soundcloud -

16 hours ago
Freedom for Musicians

An online magazine with free promotional spaces for all musicians world wide with a huge global audience. By musicians, for musicians and free from exploitat...

17 hours ago

14 year old Kacey Hacquoil

19 hours ago
FFM Records - An online magazine with free promotional spaces for all musicians world wide with a huge global audience. By musicians, for musicians and free from exploitation

Hi all, in order to get our website ranking higher on google, could you please leave a comment on the web page that you visited.
Much love and happy music making.
p.s Major announcement coming ... See more

An online magazine with free promotional spaces for all musicians world wide with a huge global audience. By musicians, for musicians and free from exploitation

19 hours ago
Mutter & Söhne - Rock'n'Roll Mama

"Mutter & Soehne" haben ihr Debutkonzert bestanden ! Megastimmung und spitzenmäßiges Publikum ! DANKE !!!🤘

Ein herziches Dankeschön für's filmen an Ernest Habringer !

Die Rockmutter der Deutschrockszene aus der Stahlstadt Linz! Eike S - Voc/Sax/Keys, Andi Pi - Git/Backvoc, Tom Siegl - BassBackvoc, Andi Sze - Drums

19 hours ago

Let's welcome our new members:
Dan Ackley,
Chris Williams

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The Simply Stunning Algirdas Matonis – Euphonium Soloist

By Roger Moisan

If one were to brew up the perfect storm as a metaphor for a brass soloist, the recipe would be thus:

  • Phenomenal technique
  • Huge range and endurance
  • Sweetness of tone at all dynamic levels
  • Power and control
  • Intense musicality
  • A stage presence, sense of performance and occasion

Well colleagues, Algirdas Matonis has all of these components and more.

Originally from Lithuania, Algirdas Matonis started playing euphonium at the age of eight. In 2000 he entered his first ever competition which was ‘Juozas Pakalnis Woodwind, Brass and Percussion Solo Competition’ held in Lithuania. At only 9 years old Algirdas managed to win the 8 – 13 age group. This was the beginning of his active participation in various music events.

Algirdas continued to enter and win solo competitions throughout his teenage years. 2009 was his last year as a teen competitor. He was offered to perform as a soloist with the Lithuanian Military Band at the ‘International Band and Orchestra Championships’ held in Lithuania where he received the best solo player award and performed at the prestigious ‘Siemens’ arena in front of over 5000 people at the Gala event.

In 2010 Algirdas Matonis decided that he wanted to pursue the life of a professional euphonium player. He entered the Royal Northern College of Music in Manchester where he studied under the guidance of the legendary euphonium pioneer Steven Mead. In 2014 he got his Bachelor degree and was awarded with entry scholarship for his Master’s degree studies.

During his study years at the RNCM he kept actively performing as a soloist. Algirdas was invited to perform as a guest artist at the biggest low brass festival in the world, ITEC, in 2012 and 2014. In 2013 Algirdas won the ‘Fodens’ open solo competition in UK and received a Besson prize award. As a part of the prize he was invited to perform as a guest soloist with the only full-time professional brass band in the world, the River City Brass Band in Pittsburgh. In 2014 Algirdas did a concert tour with the band, which led to a scholarship at Carnegie Mellon University in Pittsburgh and a move to the U.S.A. a year later.

Since 2015 Algirdas has been living in Pittsburgh, where he started playing with River City Brass on regular basis as well as continuing his Master’s degree in music performance.

At the moment Algirdas is an actively performing soloist with various solo recitals under his belt, having performed at venues in the United Kingdom, Lithuania, Latvia, Estonia, Russia, Scotland, USA and Austria. Very recently he performed an opening recital in a well-recognized festival in Lithuania called “Sugrizimai”. His performance received positive reviews from music experts and critics through multiple music magazines and public media. Algirdas’ upcoming season schedule is looking extremely busy, filled with not only solo and brass band activities but also many innovative projects which will take place in the near future.

Visiting and subscribing to Algirdas’ Youtube channel is an absolute must for euphonium players and brass players in general. His insights into brass playing and presentation are inspiring and highly entertaining.

Today’s Stage Belongs to FFM’s USA Ambassador Aria Elan – ‘Out’

Please spread the love and sunshine by subscribing to and sharing Aria’s latest song, ‘Out’

“If nothing can fix it, I’m buying my ticket. You can’t leave me, cause I’m OUT…”

International Ambassador for the USA

Vernelle Shura Edwards
Vernelle Shura Edwards -Aria Elan

A graduate of the College of Charleston and Southwestern University School of Law, she worked as an entertainment attorney, founded Isis Management, representing musicians, producers, and artists, including James Brown, Phred Mosbey, Musical Director for Earth, Wind, and Fire, musical group Bel Biv Devoe; the great South African singer, Miriam “Mama Africa” Makeba, Salaelo Maredi, acclaimed South African director, actor & playwright, and many others.
Ms. Elan later founded Sisi Records, releasing a collection of works, including Motown Legend Sylvia Moy’s hit “Love’s Inside” on the “Universal Love” album. Moy wrote and produced Stevie Wonder’s “My Cherie Amor.”

In 1990 she wrote musical “Amandla Ka Mandela,” which was staged at Henry Street Settlement Theatre in Manhattan, New York, which was followed by her historical fiction book “Missionary.”

Ready to Quit Your Day Job? – TOP 7 for Musicians

1) Ready to Quit Your Day Job and Be a Full-Time Musician?

Last week I answered questions during a Facebook Live broadcast. Here’s a segment where I covered knowing if you’re ready and how to deal with having a variety of creative passions.

2) Don’t Make This Self-Employment Mistake

Want to be your own boss? Great. But don’t get stuck in this common trap. In this video, I explain what this obstacle is and how to overcome it.

3) Seven Full-Time Musician Lessons from Dave Ruch

I’ve been following Dave for a couple years now. He’s a smart, savvy musician. In this article he shares seven things he wished he knew before he became a full-time musician.

4) 25 Quick and Easy Social Media Prompts to Post in a Pinch

This topic came up time and time again during the recent 30-Day Build Your Fan Base Challenge: What should I post every day so it doesn’t get old for me or my fans? Suzanne Paulinski has a nice checklist of ideas right here.

5) Apple Music to Surpass Spotify in the US

According to Bobby Owsinski’s Music 3.0 blog, Apple Music is growing at a higher new paid subscriber rate than Spotify is in the US. As a result, the service is on track to pass Spotify sometime during the summer of 2018.

6) The Most Powerful Way to Reach Your Fans

So many tools, so little time. What’s the most effective way to engage and interact with your fans? Want to know my top recommendation? This little gem, from my video archives, spells it out for you.

7) Attract More Fans — 4 Simple Steps

On this episode from my podcast archives, I present a simple four-step processyou can use to clarify who you are as an artist, identify your ideal fans, and reach them in a meaningful way.

Get TOP 7 music marketing links like these sent to your inbox every weekJust go here to sign up for free!

Thanks for all you do to create great music and share it with the world!


P.S. If you enjoyed this and want to express your gratitude … Purchase a book below, become a patron, subscribe to my YouTube channel, follow me on TwitterFacebookInstagram, or LinkedIn.

For More Inspiration …

Here are three more resources that will power up your creative juicesand help you thrive as an artist:

Guerrilla Music Marketing Handbook
201 Self-Promotion Ideas for Songwriters, Musicians and Bands on a Budget

The Five-Minute Music Marketer
151 Easy Music Promotion Activities That Take 5 Minutes or Less

The 9 Irrefutable Laws of Music Marketing
How the Most Successful Acts Promote Themselves, Attract Fans, and Ensure Their Long-Term Success

Please visit — where you can support the Empowered Artist Movement, my mission to educate, inspire and empower creative people around the world.

Today’s FFM Stage Belongs to Soundsmyth – Wings of Love

Spread the love by subscribing and sharing Soundsmyth’s channel.


Soundsmyth was founded in 2003 by Steve Smith and his brother David, along with longtime friend Walt Collins. The three had been playing music together off and on since they were teenagers. In 2006 they were joined by vocalist Ray Palmer and began working on their first CD. A year later Walt left and was replaced on bass by Rich Holtz. Two more years passed before the recordings were finished, mixed and mastered. The CD release party for “We Returned to Rock and Roll” was held at the Token Lounge in Detroit on February 13th, 2009.Sometime after the Detroit gig, David expressed a desire to go back to playing keyboards. The search for a new drummer ended several weeks later when Allan Eberly joined the band. While recording their follow-up CD, Lora Beuoy was asked to join the band as a second vocalist. No sooner were the last tracks recorded that both Allan and Rich departed. The CD was finished in September 2010 but the release was delayed while the “Wolves of Winter” video and cover art were completed. In October David decided to leave the band so Steve and Ray set up shop in what was to become Barking Dogs Studio.

Lora’s husband Ken joined in the fall of 2010 followed by Steve’s daughter Jaclyn the following spring. Over the next four and a half years numerous drummers worked with the band until John Bowden filled the position in 2014. Due to their talent and unique musical style, the band continues to gain fans both locally and internationally.

Spotify Limited & Apple Records. Can Spotify pull a Netflix?

Go to the profile of M.G. Siegler

The following seems inevitable. But sometimes stating the obvious draws some interesting concepts out of the woodwork. Such was the case earlier this week on Twitter when I shared a link to an Economist article suggesting Spotify may become a music label one day. The key bit:

The streaming service’s most intriguing point of leverage is that it could use these advantages to become a recorded-music label itself, working directly with artists. Matthew Ball, an analyst, argues that Spotify is sure to start cutting deals with artists in which it pays an upfront guarantee and promises a percentage of streaming revenue that is much smaller than it pays labels, but far more than artists get now.

This seems like Econ 101. Spotify pays most of its revenue to the labels to license music rights. The labels then pay a small amount of that money to artists. In the age of record pressing, compact disc encoding, physical distribution, and the like, such a middle man was needed. Today, that middle man seems, well, antiquated. The labels, of course, will say they do far more than this, and maybe they do — for now. But come on, this middle man is so getting cut out of the equation at some point.¹

And Spotify, more so than any company before it — aside from maybe Apple (more on that in a bit) — is in a position to do just that. Of course, they can’t come out and say this — though it sure sounds like Jimmy Iovine did recently (again more in a bit) — because it would be declaring open war on their most important partners. But this is inevitable: Spotify will work with artists directly to produce and distribute their music, becoming, effectively, a label.

From the same Economist article:

Becoming a label will not happen soon, partly because it would infuriate the incumbents who supply most music. But the growth of Spotify’s core business has come at a cost that is hard to ignore. Its royalty payments are a built-in, large expense. (Some rights-holders are clamouring for even more; in December Wixen Music Publishing sued Spotify for $1.6bn.) Competition from other paid streaming services mean it is hard for it to raise its own prices. To fund itself Spotify raised $1bn in debt in 2016 under terms that allowed two of the lenders, TPG, a private-equity group, and Dragoneer, a hedge fund, to convert to equity at a discount that increased with time, making an early public listing desirable. As long as its losses mount, it will seek other ways to turn a profit.

As it continues to grow, Spotify can, and has been, renegotiating the cut they must pay out to the labels. But at some point, this is going to stop making sense for new music.² As more money keeps flowing through the system, more folks are going to come in wanting their piece. And again, the biggest part of that piece is going to the labels.³ This fundamental flaw is why most music startups fail. The situation is untenable as its currently constructed.

I believe Spotify knows this and has known this for a long time. They’re playing the game they have to play for now, with their eyes on a much bigger prize. And going after such a prize likely plays into their timing to go public.

In terms of execution, this is going to be closest to the Netflix playbook — with some key differences. Netflix, of course, started the streaming aspect of their business by licensing content from the Hollywood studios. Over time, they were able to gather enough user data to know what might make for a successful show they could produce on their own — hence, House of Cards was born. These days, when you open Netflix the majority of what you see — even if the licensed content tail is still far longer — is original content.

At a high level, Spotify can do the same thing. But it’s going to be a bit different because of the differences between video content (movies and television) and music. But it actually makes even more sense to go direct to the content sources in music because of the aforementioned label take (again, for doing increasingly less and less) with one big “if.

If, consumers are conditioned by video services like Netflix, Amazon Prime Video, Hulu, and the like to pay for multiple services, Spotify can easily make this move. If consumers are not, this is going to be a lot harder for Spotify to execute — not least because they’re going to enter an even bigger war with Apple (and presumably Amazon, and Google, etc).⁴

That is to say, people are used to paying for a music service and having access to basically all music in existence — which is still wild! They’re not used to having to pay for Spotify and Apple Music in order to get access to all the content they want. I think this will change for the reasons listed above, but it’s going to be a harder transition, largely because music is more passive than video content is — it would (and will) be annoying to have to remember which song is streaming on which service.

Still, beyond the economic equation, as Apple (and Amazon, Google, etc) continue to fight Spotify for market share, this is all inevitable. And again, beyond this going slowly because these guys literally can’t afford to piss off the labels (again, right now — so perhaps they become some sort of newfangled A&R service first, as Christina Warren suggested on Twitter), some artists will probably balk at not having their music available everywhere. Which will be ironic given that this is what other artists — the biggest ones — use as their leverage point for getting what they want.⁵

Now, Apple has already been dipping their toes into some exclusive content. But this has largely been based around exclusive windows — that is, the ability to sell music first. This is the first step towards the above, but it’s something that is really only relevant for the top tier of artists. Spotify used to be adamantly opposed to this, then caved (in exchange, in part, for the lower percentage payouts). Though it’s not even clear the labels actually like this anymore. (Nor that any of us should.) Of course, when you are the label…⁶

The only real question in my mind is when Spotify makes the real move to exclusive content. Or if Apple does it first…

Per above, here’s what Jimmy Iovine said recently:

As an example of what “more interesting might be,” Iovine drew from subscription television. “Netflix has a unique catalog, because they don’t buy HBO and they have their own catalog. Then on top of that they have a little thing called $6 billion in original content. HBO has $3 billion, Amazon probably has $4 billion. Well, guess how much original content streaming has: zero! Fundamentally. All the catalogs are exactly the same,” he told the crowd.

Some wonder if he just means exclusive live content or the like. And maybe he does, at first. But the broader ambition here seems pretty clear. Again: follow the Netflix playbook.

I think that in going public now, Spotify is ramping up for this. While they may not be raising money in their direct listing IPO, it will open them up to easier access to more forms of capital. Apple, of course, needs no more capital. They literally already have more than they know what to do with (but still will undoubtedly continue raising more debt for projects such as this because it’s so cheap).

And how might the labels react? They must know this is coming. They can see what Netflix just did to their Hollywood brethren. And they still remember what Apple did to them in the age of downloads (beyond saving them from piracy, which is conveniently forgotten, of course). I’m just not sure what they can do. Beyond maybe touting their other reasons to exist — promotion! guidance! — none of which are sustainable. But I know something else inevitable: this will all get ugly at some point.⁷

Regardless, I’m pretty bullish on Spotify as it gears up to go public. It won’t be easy or quick, but if they can execute the transition into a label, a new label for a new age, this could be a massive business. Like Netflix, but with an even larger potential base paying them each month. There are a lot of unknowns in terms of timing — and if they get said timing wrong, the company could actually be in trouble. But again, this all feels inevitable. In 10 years, we’ll have Spotify Limited and Apple Records.⁸ And probably Google whatever and Amazon something. And yes, we’ll be paying for all of them.

But at least they won’t be paying the majority of that to the labels.

Photo by Natalie Perea on Unsplash

(Disclosure: Just to be clear, I have nothing to disclose here. I’m not a Spotify shareholder — though I might be when they go public! — and actually, I’m an Apple Music user. Though I suspect I’ll be a Spotify member as well in the not-too-distant future per above.)

¹ Because Spotify, Apple Music, and the like — as well as some newer ideas — are the newfangled middle men! And that’s a undoubtedly a good thing, certainly for artists, it would seem.

² This is important: I suspect there may always be some sort of relationship with the labels necessary to ensure catalog access, which is vital for any streaming music service. But new music is a different beast in this new world.

³ I won’t wade into the publisher and rights’ holders part of the equation here as it makes things even more complicated. But those guys seem to be in a better position than the labels.

⁴ I suspect all the big tech players with their audio assistants and hardware (both things like the Echo, Home, and HomePod, but also eventually the AirPods) use these as new points of leverage as well, since music will be key for all of these new devices and services. This could be both a strength for Spotify as they can be the Switzerland here — since they have no hardware, at least not yet. But also a potential weakness, in particular if one platform in the space becomes dominant.

⁵ And let’s not even talk about Tidal here. You know, the “artist-owned” service, which has been a disaster from day one.

⁶ Another wild card is if Spotify could become a label and still license their content to Apple Music. Sounds crazy, but maybe it’s not. Again, the real reason to go direct would be to cut out the ridiculous payments to the labels. If consumers throw up on the notion of exclusivity, this could be an option. That would be slightly awkward as Apple Music would have to license content from Spotify and vice versa, but presumably both of those guys would be more reasonable in their payment expectations. Anyway, just throwing that out there, but I don’t think that’s going to happen.

⁷ A fight that will undoubtedly be even more awkward since the major labels all hold equity positions in Spotify. Will they sell once the company is public? We shall see…

⁸ Again! It would seem Apple could do this, if they wanted…