Web3 needs more pop. More importantly, it needs more pop hits that can break beyond the world of NFT collectibles to forge a viable new path for artists to achieve mainstream success. Enter pop newcomers Beachcrimes. They are the dynamic songwriting team of Tia Tia and Ryan McMahon (formerly part of DJ outfit Captain Cuts). The duo is certainly no stranger to pop aficionados among us; Tia and McMahon have written hits for some of the biggest artists in the world, including Justin Bieber, Ava Max, Carly Rae Jepsen, Monsta X, Keith Urban, Walk The Moon, and the list goes on and on.

Tia and McMahon have joined creative forces to bring their passion for pop and penchant for delivering global hits to the Web3 space. Instead of pitching their songs to others, they have decided to launch their own artist project. The duo has kicked off a Music NFT project with the intent of releasing 24 new songs as digital collectibles in 48 weeks. It’s an unprecedented undertaking in the world of pop that pushes the frontier of music and Web3 in an exciting new direction.

Leave it to the creative minds of Beachcrimes to deliver some of the best pop and hit-worthy material I’ve seen in Web3 so far. It’s exciting. In fact, it’s artists like Beachcrimes who show that with great music, it’s possible to chart an alternative course and build a community of fan-collectors in Web3 that can serve as a launching pad for success in Web2.

It's time to get to know Tia Tia and McMahon and learn what Beachcrimes is all about. Read on and you’ll find that there’s no doubt that the duo is up to the task of shaking up Web3 with their uncanny ability to write infectious pop that has the potential to go far and wide.

Hi Beachcrimes! Tell us more about you. How did you become a duo?

“First of all, we must say this is an incredible honor to be interviewed by the undisputed king of pop, Arjan Writes. Your blog was the only Web2 bookmark necessary to discover new music. And 15 years later, you’re still putting new artists on the map every day - thank you for all that you do!

We are Ryan & Tia Tia aka Beachcrimes. We’re a duo from LA and we spent the last year making songs in hotel rooms around the world. Beachcrimes is the soundtrack to that adventure. Beach for the fun, happy, summer side. Crimes for the dark, 4am, club side.

For the past 8 years, we’ve been full time songwriter-producers for hire. Ryan has written songs for Halsey, The Chainsmokers, Bebe Rexha, and "Shut Up & Dance" for Walk The Moon, while Tia Tia has written songs for Justin Bieber, Ava Max, Anitta, and others. Ryan has also been DJing for 10 years and was signed to Epic Records with his former DJ trio Captain Cuts. Tia Tia drops music of her own and has upped the ante this year by releasing a pop banger every Friday. We both love working with other artists but we always had this itch to make our own music.”

How do you collaborate as a duo? Can you describe your creative process?

“Sometimes it starts from a lyric. Sometimes a melody. But most of the time, we’ll whip up a simple instrumental loop and then start freestyling melodies and lyrics on the mic. In the past, we would then pitch these songs to other DJs like Chainsmokers, Zedd, and Marshmello, but found that they often ended up sitting on a shelf for 12-18 months without any control over their release. Some of our Beachcrimes records faced the same fate before we decided to claim them for ourselves and take control of their narrative. Because for every song on this project, we just felt something in our DNA that these were uniquely ours. And so Beachcrimes was born.”

"Melody (In My Head)" is your latest NFT release. What inspired you to release it as digital collectibles first?

“‘Melody (In My Head)' is our fourth release. Following up 'Let’s Play House,' 'Do It Better', and 'One Step.' One thing that led us to the Music NFT space was seeing these artists release music on their own terms. That’s huge for us.

As professional songwriters, we write hundreds of songs every year for other artists, but only a handful of them ever get picked up and even fewer ever see an actual release. It's a common horror story among songwriters to have a favorite song sit "on hold" with a major artist for months, if not years, and never see the light of day. Even if a song does get released, writers rarely have any say in the campaigns.

We wanted to take control of our music and release it on our own terms. What if we wanted to release 24 songs in a year? What if we wrote a song this week and wanted to share it right away? What if our day-one fans could invest in us and even financially benefit from believing in us? With Web3 tech and Music NFTs, we can do just that.

The Music NFT space eliminates the need for traditional music industry gatekeepers and intermediaries who often stand between artists and their fans. It allows us to go direct-to-consumer in a way that was previously not possible for artists. We see this D2C as Direct To Community, and we're excited to bring this project to life with our fans.”

What has you experience been releasing music as digital collectibles?

“All 4 of our releases are sold out on Sound. The response in the Web3 community has been super positive and we’re so blessed to have so many supporters already. We’ve got a Telegram group with all our holders and we love to check in with them. We give them some exclusive first listens and some mashups and edits that we make - as you now know, Arjan!

While we do consider ourselves Web3 artists, we wouldn't say that we're exclusively Web3. We still value the traditional Web2 platforms as places to build community, but Web3 offers more direct-to-community opportunities. The Web3 audience has also been much more supportive overall, and it already feels like we're family.

We wanted this project to life in Web3 from day one so we put our debut single on-chain. ‘Let’s Play House’ was our genesis track and it hit Sound.xyz before anywhere else. Debuted permanently on the blockchain. But this is just the beginning. We have very big plans for the space.”

You release a new NFT every two weeks. What's the vision behind this frequent release schedule?

“We made a lot of songs, and we can’t wait to share them. All of them. This year we’re releasing 24 songs in 48 weeks. If we’re being real, it’s actually two albums – there’s AM and there’s PM. AM is the lite stuff, PM is the nite stuff. The Radio vs The Club. We loved these 2 verticals of dance music too much to pick one. So we picked both."

We want to build these albums in real time, alternating between AM and PM releases every 2 weeks. Consistency is more important than ever in 2023 and we want our fans and our Web3 community to be able to depend on us. We won’t let them down.”

Who are people in the NFT space that you look up to?

“We dove headfirst into Web3 this year and have been completely overwhelmed by all the amazing artists building in the space. Mixes are our love language so we made a 3 minute minimix of 14 of our favorite artists in Web3.

On the busines and tech side, we absolutely love David and everyone at Sound.xyz. They were extremely supportive from the jump. On the curator side, we are so grateful to our earlier adopters like Coopahtroopa (), Brokeinvstr, and Neon Gold to name a few. In January, we sent the music to Ben James [Billboard writer and Ziggy Ziggy () founder'] and he loved it so much that he offered to be our Web3 spiritual guru. And to say he has been an invaluable asset to our team would be a serious understatement".”

What do you think is the biggest misconception about Music NFTs?

One of the major misconceptions is thinking that Music NFTs are only practical for well-established artists. In fact, the complete opposite is probably more true. Up-and-coming artists can use Web3 and Music NFTs to offer one-of-a-kind experiences, collectibles, royalty streams and more. As a Web3 artist, your fanbase can essentially become the main investor in your business. And while the underlying technology of NFTs is complex, we also need to shatter the misconception that music NFTs are too complicated. So many platforms, like Sound or Royal, make it incredibly easy to buy and sell your music, collectibles, royalties, etc. Let’s get with the times, Grandpa!”

What does the next six months look like for Beachcrimes?

“We’re posting content on all social platforms every single day. That Web2 baloney like Tik Tok, Instagram Reels, Facebook Reels, YouTube Shorts, etc. We filmed all of our travels last year so we have tons of footage of us making and singing the songs in all the cities where we made them.

In terms of live shows, we have big plans but we’re more focused on the releases and building our catalog right now. We need at least 5 songs out before we start talking tour dates. But we’re looking forward to joining the Web3 DJ circuit - ETH Denver looked incredibly lit.

The next 6 months will see 12 new songs from Beachcrimes as we are releasing a new song and an NFT every 2 weeks. We only debuted this project 6 weeks ago but we are betting the house on it. We want this to be the biggest DJ project of the year. And because we spent the past 8 years writing and producing global hit records for tons of artists, we know when we have hits. And trust us - all of these songs are hits. You can quote us on that!”

Disclaimer: Arjan collected edition #27 of Beachcrimes “Melody (In My Head).”

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It’s been almost 12 years since I first wrote about Lincoln Jesser on my Arjan Writes Music Blog. Back in 2011, Jesser still went by his producer moniker Pace while attending USC and making beats in his dorm room. Following his first set of releases and remixes, the multitalented Jesser has continued to fine-tune his craft, consistently putting out great dance-pop music while becoming a go-to collaborator for many artists. Jesser is one of nicest people in the business who always brings great energy to a writer’s room. It should come as no surprise that artists like Shoffy, FRÉNE, Kendall Morgan, Gabrielle Currant, Malaysian superstar Yuna and others have tapped him for collaborations.

This week, Jesser is teaming up with singer EMME to release their debut music NFT for the song “Can’t Help But To Think About You.” It’s the first track from his forthcoming new EP, titled Escapetape. Digging into music NFTs is an exciting new endeavor to make music available to collectors. Time to catch up with Jesser and discuss the state of his music and the music industry at large.

Arjan: You've been on an incredible journey. I remember first writing about you back in 2011 around the time when you formally started your production and songwriting career. You have been consistently releasing new music since then. The music industry has gone through quite a transformation over the last decade—from iTunes to streaming to TikTok to NFTs. As a creative, what's your take on the current state of music? Are things changing for the better?

Jesser: Thank you Arjan. It's been incredible having you supporting me this whole time. I still remember when you first posted about me, and I'm still as excited and honored when you reach out now as I was then. My take on the current state of music is that creative presence is the most valuable asset an artist or creator can have -- and by that, I mean that while the opportunities for mass exposure have increased, the amount of art/content is at an all-time saturation high. And so putting your authentic energy into what you do and having fun with it, while also not being too attached to the outcome, is the most likely way to create resonance with the universe.

There are just never any guarantees that a piece of work will ever connect, and yet, with almost everything that does, the reasons why are pretty clear. So I would say things are changing for the better in that there's more room for people from any circumstance to succeed, but I'd temper that by saying that it makes me sad in a way how many artists focus on short-term content over long-term work that might better stand the test of time, because at the end of the day most people only have so much energy to devote to their work. But, life is long, and people blowing up off jokey TikToks could create masterpieces down the line. So who's to really say?

You are releasing your first music NFT this week. Why did you decide to release “Can’t Help But To Think About You” as an NFT first? Did you find it a challenging process, or was it a relatively easy process?

I connected with Sound.XYZ a while back actually, and we expressed that we both would love to work on a drop together because I'm very into the ethos of Web3 and music. I love the idea of music being valued like fine art, or even just as a more tangible/finite substance. And so the timing just worked out for “Can't Help But Think About You.” And I've been low-key collecting a few art pieces in the NFT space for a while now, so I'm not a complete newcomer to the process. It's easy once you get the basics down!

What do you expect from your first drop? More generally, do you think NFTs provide new creative opportunities for artists?

I just hope to connect with more people in the space, and hopefully make friends with other collectors who see the value in the Music NFT experience. It's new, it's fair, and it's fun.

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Let's talk about the music. “Can’t Help But To Think About You” is a smooth and perfectly-produced dance-pop gem. How long has this song been in the cooker? How did the partnership with EMME come about?

EMME and I actually met writing for a mutual friend/artist a few years back, and kept somewhat in touch. We finally got into the studio together just a few months ago and “Can’t Help But To Think About You” was born. She's got beautiful melodies and is just a fun and funny person to work and hang with. This song helped me process a painful breakup, and I think it taps into feelings a lot of us have experienced, in that cool pop way that I always strive to touch on.

You've branched out and toyed around with different genres throughout your career, from the indie-leaning "Peleton" to the nu-disco "Undone." Do you ultimately think dance and pop feel most native to you as a producer?

I do. There's something in the energy and sound of records like this one that just feels intrinsic to me. It tends to manifest when I'm feeling raw and just letting go. I've always felt a bit too dancey for the pop world and too pop for the dance world, and the more music I make the more comfortable I've become living in that nebulous space. The things that make an artist insecure tend to be the things that make them special, don't you think?

Any big plans for spring?

I'm going to continue rolling out music with my label Th3rd Brain -- “Can’t Help But To Think About You” is the first single off the Escapetape EP. And I'll have some shows to announce soon too. But really, just trying to spread love.

🖼 Collect “Can’t Help But To Think About You” on Sound.XYZ, and stream Lincoln Jesser’s music on Apple Music.

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Annika Rose is no stranger to the wild twists and turns of the music business. The rapidly-rising pop singer was only 13 years old when she was signed to Simon Cowell’s Syco label to be the lead in a girl group the famed pop impresario was putting together. Things didn’t work out exactly as planned and Rose embarked on a solo career working with some of the biggest hit writers in the world.

Things continued to look up when Tap Management signed Rose alongside fellow clients Dua Lipa, Ellie Goulding, and Lana Del Rey. The singer had early success with tracks like “In The End” and “I’m Better” which received lots of playlist love from Apple Music. But despite Rose’s burgeoning professional success, her personal life turned upside down when her parents divorced with lots of complications and an unexpected illness. If all that wasn’t enough, a global pandemic brought all forward momentum to a screeching halt. (Rose provides more details in a candid TikTok video.)

Rose is not a quitter and regained her footing by focusing on the one thing she loves most: making great music. It should come as no surprise that Web3 and Music NFTs are an exciting new format for the singer to further her career. In recent months, the singer has immersed herself in the NFT community by taking part in numerous Twitter Spaces, speaking at a Water & Music panel in Los Angeles, and performing during NFT NYC in June.

This week, on Friday, October 7, Rose is teaming up with Sound.xyz to mint her fantastic new single, “Bruises.” It marks the start of a new era of artistry and exploration for the singer. With the NVAK Collective team firmly by her side, Annika is looking forward to this new chapter in her career that focuses on doing music entirely on her own terms.

Inspired by a friend’s mental health struggle, "Bruises” gently masks its serious undertones with a message and sound that is both uplifting and deeply comforting. There is no need to tackle these issues alone. Rose acknowledges the hardship her friend is facing. “You’re blowing smoke up in the air, like you’re on fire,” she sings.

🤔 Here’s what I think: “Bruises” is one of the most chart-ready, pop-loving Music NFTs I’ve heard to date. The song’s glowing ‘80s feel and swaying chorus are absolutely gorgeous. “Bruises” is a Web3 hit about to happen. Frankly speaking, artists like Annika Rose are crucial in taking Music NFTs to a new level of pop and mainstream acceptance.

I chatted with Annika Rose via email and text to learn more about "Bruises” and her experience with Music NFTs so far.

Congratulations with your first Music NFT drop this week! What compelled you to step into the world of Web3 and explore this new music format?

“Thank you so much! The anticipation has been real. There are a few reasons I was initially compelled to join space, and they seem to keep on growing the more I learn and participate. Of course, when you hear the word NFT having only ever been fed the narrative around NFTs that the mass general public seemingly has adopted, you’re skeptical. However, I was lucky enough to be gently guided by someone I trust, who allowed me the time and space to fall in love with it in my own time. [Music NFTs] help to create deeper personalized relationships and connections to early supporters; they foster community-based collaboration, traceable actions, exchanges, and compensation; Music NFTs can be long-form art where I’m able to tell a story not just through a song, but through an entire experience. NFTs also include a diverse crowd through that experience - gamers, tech people, collectors, and rabid music fans. [Music NFTs also redefine] ownership; the fact that I can build a meaningful audience that doesn’t have to stay exclusive to a single entity. I can take my audience with me wherever I go, with fairer and immediate compensation for my art and collaborators. 

As if just a couple of those reasons weren’t enough, there was no doubt in my mind that this was something I should explore and utilize immediately.” 

Tell us about the song you’re minting. Why did you pick this song in particular to be your first Music NFT?

“The song is called “Bruises.” I wrote it with my dear friend and collaborator Paul Phamous. It’s cycled through many lives on the production side, but the final sonic palette was finished off by Bailey Lindley, Alex Salibian, and Ethan Schneiderman—that’s my little crew. I had been watching a very close friend of mine suffer from some pretty debilitating mental obstacles and self-sabotage and I was terrified to my core that I couldn’t help her any more than I had already tried. I came into the studio in October last year and it was so prevalent in my thoughts, there was no other song I could’ve written that day. It was my way of trying to connect with her in the only way I could at that point. The song wrote itself. 

It seemed to me like the perfect song to kick off my journey into Web3 because although lyrically the story is dark, there’s a lightness to the music around it and I want people to dance and cry. I want them to do all of it, which is pretty characteristic of me. So, I ran with it.”

How has the response been from fans? Have you noticed curiosity? For some of them, it may be the first time getting a crypto wallet and purchasing an NFT.

“Honestly, it’s the first time for most of them! It’s been a huge learning curve for me. I know the approach has to be gentle. I don’t want people to be forced into something. I want it to be their idea. It’s a slow burn. I’m very careful with how I phrase things, and if a new word or concept, or activity causes someone to tilt their head and dig a little deeper, that’s my hope. I do see it happening. I’ve been just casually onboarding people into my Discord and watching every day how they start to ask more questions and my community comes together to help answer those questions and get new friends set up for success in creating a wallet and participating in what I’m doing. It’s incredible to watch. and of course, I answer any and all questions thrown my way too. Curiosity is the key, followed up with supportive guidance.”

What’s your take on Music NFTs from an artistic point of view? Does it spark new creativity?

“10000%! It’s quick, which is not how I’m used to working. I’m a very meticulous person in all pursuits—the perfectionist type. It makes me less protective in a sense, more open. not decreasing the quality of what I create, but more so pushing me out of my comfort zone and self-critical headspace. There’s less time to question every single piece of the puzzle, which is really good for my creativity. Collaborations in Web3 feel almost spontaneous. and they’re outside the bounds of what collaboration looks like in Web2. It’s a challenge, mentally and creatively, but it’s unlocking new portals.”

Who are people in the NFT space you look up to?

“Oh, man! There are so many! Off the top of my head, I’m obsessed with the Hume Collective! I love what they’re doing for the future of music through Angelbaby, metaverse stars, and how they’re restructuring what “success” could look like. The fan-to-artist relationship and partnership is an inspiring model for me to look at for what I’m doing. I also love Jagwar Twin and how he’s marrying both Web2 and Web3 in an insanely innovative way. His whole project feels like a secret game. I’m dying to learn how to play. 

Outside of the Web3 music world, I’m a huge fan of social change communities like DoinGud, and myBFF amongst a handful of others. Those communities are incredibly important.”

What is the biggest misconception from artists about Music NFTs? What may be holding them back?

“A lot of music artists simply just do not know a space like this even exists, and I think the ones that do are scared. It makes sense to me. I’m still scared sometimes. New things are scary. As I mentioned earlier, there are so many widely adopted misconceptions about NFTs, so the prospect of publicly putting yourself out there and talking about it is frightening. The internet can be a really dark place and people are quick to make assumptions about your intentions. I think it takes a huge amount of courage to take the leap and have an underlying belief that you’re doing things for the right reasons. I don’t think artists/fans have fully realized how much incentive lies in Web3 for both parties. It’s a very layered new world, still being built upon, waiting to be utilized in meaningful ways. 

I also think there’s a misconception floating around that if you immerse yourself in the Web3 world, you’ll immediately be classified as a “Web3 artist.” which is bullshit. Not everything needs to have a title. If you’re an artist, you’re an artist. Period. There’s no reason why creatives shouldn’t be capitalizing on every single tool available to help extend their art and explore every path to find success, in whatever way they choose to define it. “

Channel Tres has built a reputation for infusing his love for classic house and soul with an irreverent West Coast aesthetic. The Compton-born artist takes things to a new level of imagination by teaming up with omgkirby, Web3’s king of lofi, for a unique music drop. Together they will mint 5550 generative NFTs that consist of a unique song and corresponding animation that combines the strength of both artists.

What makes this drop even more unique is that full IP ownership (i.e., complete publishing and master’s rights) of each song is transferred to the collector. The song can then be used, re-used, and remixed as the NFT holder sees fit. Want to upload it to Apple Music as your own? Go for it. Want to use the track as the opening score of your new YouTube project? Yes, you can. Want to have bragging rights that you’re the proud owner of a Channel Tres/omgkirby original? Go ahead and let the world know. Collectors obtain a unique piece of art with all the endless opportunities that come along with it.

It’s an exciting new venture for Channel Tres and possibly the start of more Web3 releases. I sent Channel a few questions via email to gain a bit more context about the drop and his partnership with omgkirby.

Arjan: How did the partnership with omgkirby come about? What is it about omgkirby's Web3 art that you found compelling?
Channel Tres: During the pandemic, I started paying attention to the Web3 space and it was cool to see artists connecting with their fans in a different way when they couldn't tour. Omgkirby was the first Web3-based artist I found that felt authentic to me. It felt like a real artist project rather than a company in the space.

You will be releasing 5550 unique, generative music NFTs that collectors can use and re-use as they wish. What was the process like to develop the generative algorithm to craft 5550 songs? Was it a daunting task, or mostly a fun process?
On my end it was pretty easy, my team at Godmode helped collect stems of my music, and then omgkirby made magic with them.

What's your overall take on Music NFTs? Do you find it an exciting new format to create for?
I do. I think it's a way for artists to connect with different fans who may not have encountered their music before.

What are some people in the (Music) NFT field that you look up to? Why?
It's been cool to see Cherie Hu’s [@cheriehu42] Water and Music grow. It's helped me understand the space more.

Do you plan on doing more in the Web3 space in the future? Are you a collector yourself?
I hope so, once I get back from tour. Not yet but excited to get into it more.

Collect the omgkirby x Channel Tres NFT

One of my favorite things to do is to scour the internet to find new music. There are so many great songs to discover in so many different places. There’s nothing better than going down music’s rabbit hole and finding a diamond in the rough—a song that serves up something new and different, conveys a unique point of view, and has the potential to be loved by many.

London Mars’ “Basement Superstar” is one of those songs I recently discovered that had me sit up straight and pay attention. I found the song while browsing some of the Web3 platforms that have been minting some great collectibles. “Basement Superstar” was featured on Decent.xyz as a music collectible, and after doing a little more research I found Mars’ new EP, titled “Soundtrack To My Destruction,” on Apple Music that features the full set of her new songs.

I must admit that I love pop of the purest kind. Pop’s that smart, bittersweet, fun, and dare I say—yes, a little cheesy. “Basement Superstar” may not be what you’d expect me to like. It’s loud and brash; it’s gritty and raw; it features flaming guitars, glitzy drums, and Mars’ fiery performance. In other words: It doesn’t seem very pop at all. But it does feature something else that marks great pop music: a melody that sticks. Plus, with the center of pop always changing, it may be time to rock out and bang our heads a little.

“Basement Superstar” in many ways perfectly sums up London Mars’ unique brand of pop. “I love contrasts in music,” she told me in a phone interview earlier this week. And the song serves up exactly that—musically and lyrically. Even the song’s title seems to embrace the contradictions that inspire her.

If you love pop and want to discover more of Mars, I suggest to also check out the tracks “Bleach” and “Chapped Lips” from her new EP that have hit written all over it.

The Berklee College of Music graduate has been releasing music on streaming services for a while, but recently she decided to put up “Basement Superstar” as a limited-edition collectible for fans to have and join in its success via royalty sharing. Now is a good time to learn more about London Mars, her music, and Web3 journey

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Arjan: First things first. Who is London Mars?
London: I’m from Norman, Oklahoma. I grew up in a very Christian household. I went to church every Sunday and I was not allowed to listen to secular music until I was 13. It really made me crave this idea of ‘what else is out there?’ and so when I got my hands on any other kind of music I knew I wanted to pursue that. I ended up moving to Boston to go to Berklee College of Music. I graduated early and moved to Los Angeles to fully pursue music. I’ve been here now for about two years and it’s been really great. I’m learning a lot, working with amazing people, and incorporating different sounds into my music.

Moving to Boston from Oklahoma must have been eye-opening.
It was. I had to play a lot of catch up just because I grew up in a small town. I didn’t go through all the different musical phases my friends went through. I kind of just crammed all of it in whenever I got to college. So all the Paramore, all the Blink182, and all the rock and indie stuff. Once I was able to move, I was like ‘oh my gosh, like there's so much.’ Everything was hitting me in the face.

I can sense the different influences in your music. You lean very rocky and alternative, but your sensibilities are very pop.
Thank you! I completely agree with that. The first thing I released was kind of mid-pandemic and musically it just captures a lot of repressed energy after spending months at home just writing and thinking about things. I really love to create contrast in my music. For example, something can sound very hardcore but then the lyrics are the opposite of that. I mean the first thing that I was able to even get my hands on in Oklahoma was top 40 radio when my mom would go into the grocery store and I could listen to the radio and heard artists like Lady Gaga. But then I’m also very inspired Paramore so my music ends up being a mixing pot of all these different inspirations and experiences.

“Basement Superstar” is the lead track from your new project that you also made available as a digital collectible for fans. Tell me a little more about the song.
The concept of the song is really based on how I was feeling when I wrote it. I felt that I was stuck, asking myself ‘why haven't I gotten to a certain point yet.’ I feel like everybody feels like that sometimes. I think my favorite line in the first verse is, ‘I was depressed last year/Got my shit together/I'm glad I'm still here.” I was sad for a bit but I know I’m still cool. That’s the vibe of the song. It’s a hype song for everyone that’s feeling down.

Why did you decide to step into Web3 and make “Basement Superstar” available as an NFT?
I’ve been really interested in the space and curious to try new things. My label [Sad Boy Records] brought it up at some point and asked if I was open to drop one of the tracks from the project as an NFT. I was excited to do it and it’s been a great experience. Decent.xyz has been really great in helping with the process. I consider Music NFTs a new format for artists to grow and succeed—especially for new artists. The “Basement Superstar” NFT dropped ahead of the release of the NFT and was a new way to promote it.

The NFT on Decent also includes royalty sharing with fans. That’s a really interesting new concept. How does it feel to share the success of the song with fans?
I think that’s really cool and creates a very intimate experience with fans. We did 25 editions of the song priced at 0.1 Ethereum each and people that collect it will receive royalties for three years. I consider people buying the NFT my superfans and for them it’s really cool to have an actual piece of the record. It’s a really special connection I have with those fans.

Do you think the new format of Music NFTs and collectibles will impact your creative process?
Yes. It lets you think about your music, art, and the fans move broadly. I can release the music but also share visuals, exclusive content, tickets, and meet and greets.

Are there people in the Web3 Music space you look up to?
There’s a non-binary female group chat on Twitter with women I really look up to. It’s such an inspiring place. We share music, we share tips. It’s been really cool. It’s great to see women uplifting women in Web3

Follow London Mars on Twitter and Instagram.

“Basement Superstar”
Performed by London Mars
Written by London Mars, Joel Ferber & Emily Katherine McDonald
Produced by Joel Ferber

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A group of artists, music managers, NFT collectors, Web3 operators, and other music-loving folks gathered last night at the Afterparty House in West Hollywood to discuss the current state of Music NFTs and Web3. The gorgeous Afterparty mansion has been a weekly gathering place for people active and interested in the Web3 space to connect and collaborate.

Last night’s event featured a panel moderated by collector/operator Cooper Turley with artist/producer Daniel Allan, Venice Music’s Pinder, and Afterparty founder David Fields.

Other Web3 trailblazers spotted in the audience: Peter Saputo (artist), Alec King (artist), Katrina Arman (artist relations, Sound.xyz), Brett Blackman (manager, label owner), Yung Spielburg (research lead, Water & Music), Xander Carlson (artist, cofounder of Decent.xyz), Kevin George (artist), Jonathan Carmel (Web3 lead, Symphonic), Delfina Glover (manager), Drew Coyle (creator), JP Morgan (technologist), Eitan Schorr (manager), Queen George (artist), TK The Legend (artist), and Mija (artist).

The panel discussion provided an excellent overview of the current state of Web3 music and offered some helpful tips and encouragement for artists looking to get active in the space. I summed up some of the night's highlights for all the folks not in Los Angeles but interested in learning and tracking the scene. I encourage everyone to follow Cooper, Daniel, Pinder, David, and Afterparty on Twitter to share ideas and continue the conversation.

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Key takeaways from last night’s panel:

1. You don’t need permission. Just get started.

Cooper Turley: “You don’t need anybody’s permission to participate in Web3. Don’t get overwhelmed by trying to create some crazy drop. Just do it one step at a time. Start small and work your way up.”

2. Web3 fans can also drive Web2 success.

Daniel Allan: “You may have heard about this idea that you need a thousand true fans to be able to make a living from your art. I think what that can trend towards is that you need a thousand true fans and a small group of Web3 superfans. Those Web3 superfans can provide the resources to help build your Web2 career so you can create synergy between the two worlds (. . .) I'm trying to lead the charge on what that looks like. The music and the artistry always come first, but when that’s done I like to figure out how I can take a step further and figure out how can tokenize it, etcetera.”

3. Web3 is the ideal space to support emerging artists.

Cooper Turley: “There's a group of people supporting [Daniel Allan] because of what he's doing with Web3. He’s showing up all the time and he's making great music. Many people are thinking about Web3 technology primarily as a way to support emerging artists. Daniel is showing up across all these platforms, trying new things, and connecting the dots with people. I think that's something really important to highlight outside the music itself. With Daniel for example, you see him selling all these NFTs, and people may wonder ‘how did this happen?’ but it’s all the work that goes into it behind the scenes that I think carries a really heavy premium.”

4. Experimentation is crucial to bringing casual music fans into the Web3 space.

David Fields: “Collectors are still a big part of this new space. At Afterparty, we’re excited about figuring out how more fans can get into the space. On the technology side, we’ve been focused on building tech to enable fans to seamlessly participate. Web3 companies and artists can help educate but [at Afterparty] we’ve been experimenting with NFTs for access and tokenized fan clubs. A reasonable entry point is really important to us. It may start as a free-to-claim and then move into a space where fans will pay for access but it has to be at price point that fans are willing to participate (. . .) Another thing we’re doing is experimenting with NFT-ticketed events as a way to provide value to fans. We’re hosting our first NFT-ticketed show at our house with Yung Gravy next week.”

5. It’s about showing up.

Cooper Turley: “It’s easy to look at Web3 and just think about the technology. But it’s all humans at the end of the day. There are so many people in the audience here that have met through Web3. The people who are winning in Web3 music space are the ones who are showing up the most. It’s not like you can have 10 million streams [on streaming platforms] and sell an NFT overnight. It’s actually quite the opposite. You may have a lot less streams and then outsell someone [in Web3] who has a lot more streams because you’re showing up and putting in the work.”

6. You don’t need a big following to succeed.

Daniel Allan: “If you think about jumping in but are worried that you don’t have the clout or the followers, you'll be really surprised when you start. I only had 200 followers on Twitter when I raised 50Ξ with my first crowdfunding for my Overstimulated EP. That equals a record deal for an artist much bigger than me. My biggest piece of advice for artists new to Web3 is to not overthink it. Just start dropping and see what happens.”

7. The inflection point is near.

Cooper Turley: “I've never seen more artists asking questions about how to get involved in the space. Everyone—from artists putting out their first NFT to artists crushing it in the Web2 space. I expect an inflection point very soon. I don't know when it’s gonna happen, but when I look at this crowd tonight, it's a packed house, and it's the bottom of a bear market. People are showing up to talk about this. So from my standpoint, I think it's time for a new chapter of music. People are itching for new ways to discover music, to curate music, and have a better relationship with creators who they love. I think that's what this is.”

Rozes has a lot to celebrate this summer. First and foremost, best wishes are in order for the singer and her fiancée Brendan who got married earlier this month. Rozes found the perfect way to let fans join this special moment by writing and releasing the song “Heart On Fire” for her wedding day that she made available on streaming platforms and as a one-of-one music collectible.

“Heart On Fire” fits the happy occasion perfectly. It’s a hearty piano-driven ballad in which Rozes professes her love to her fiancée. “Only in dreams it exists/Something as real as this/I swear I never knew it could be true/And then there was you,” she sings in the song's second verse. It’s a gorgeous track that showcases Rozes’ brilliant way with words and knack for concocting timeless melodies. Rozes co-wrote “Heart On Fire” with Alex Sacco and Patrick Mencel.

I first ran across Rozes when she collaborated with The Chainsmokers on “Roses” back in 2014. The teaming of Rozes, Alex, and Drew marks a pivotal moment in The Chainsmokers’ evolution. “Roses” is the song that helped turn The Chainsmokers from rambunctious “Selfie” party-starters into sophisticated hitmakers.

In fact, “Roses” was part of a slew of tracks that The Chainsmokers released early in their career that combined their signature dance-pop productions with indie tunes and folky vocals. Examples are “Let You Go” (featuring Great Good Fine Ok), “New York City” (featuring Delacey), “Inside Out” (featuring Charlee), and “Kanye” (featuring SirenXX).

“Roses” is the standout from that era that propelled both Rozes and The Chainsmokers to a new level of success and notoriety. Rozes has explained in previous interviews that the song was written pretty fast during a spontaneous writing session in New York after connecting with Drew and Alex on social media. (Fun fact: “Roses” is a love song about the man Rozes married earlier this month.)

“Roses” ended up becoming a mainstay on the Billboard charts in 2015 and has gone triple platinum since its release.

The song’s success led to more collaboration between Rozes and other EDM acts, including Cash Cash (“Matches”) and Galantis (“Girls On Boys”). A career highlight came in 2019 when Rozes’ song “Halfway There” became the official anthem of the Women’s March.

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More recently, Rozes has embraced new ways to connect with fans and released several music NFTs. She minted a gorgeous acoustic version of “Roses” that she titled “Never Let Me Go (Roses).” This stripped-down version feels like the original demo of the song. It’s a perfect music collectible for fans to own as it will likely stir much nostalgia for people.

More pop greatness followed, including Web3 releases of “Treat You Right” and “Homebody” (her genesis NFT release) that she made available via Mint Songs.

Rozes has enthusiastically adopted Web3 as a new space to engage with superfans and create momentum for her art. I spoke with Rozes briefly ahead of her wedding day via email about her entry into the world of music collectibles.

Arjan: Making songs available as NFTs is a great way to build community and provide something really unique to superfans. What was your experience doing your drops via Mint Songs? Was it an easy process that you enjoyed?
Rozes: Doing my drops with Mint Songs has been a breeze. They’ve helped me from the preparation and promo of the release to collecting and receiving the Ethereum that it sold for. They’ve helped me learn so much along the way. 

How was the response from fans when you started releasing these digital collectibles?
There was certainly a bit of confusion when I released my first NFT. I received a lot of questions about the culture behind Web3 and also a lot of questions about the environmental impact NFTs may cause. I must note that Mint Songs has an annual goal to be carbon neutral. 

How do you think music NFTs will support artists, including yourself? Has it made a difference for you? Do you think it will spur creativity?
I’m finding that many of my NFT’s sell to collectors outside my day-to-day fans. I think it’s been an awesome discovery tool for my art, and I’ve loved expanding my reach. NFTs empower artists. I get to set the value instead of relying on streaming services to tell me what my art is worth. It has helped me add more out-of-the-box thinking to my creations. 

Are there other artists and advocates in the NTF the space you look up to?
I am still discovering and learning the space as much as anyone else. I have loved joining the Mint Songs talk spaces on Twitter and discovering new artists and creators that way. I think one of the biggest NFTers I admire is 3LAU, a fellow dance music creator. 

What do you think holds artists back from jumping into the NFT space? What do you recommend to other artists who want to get into the space? What's a good way to start?
I would say that the biggest thing holding artists back is the lack of education and confusion about how to get started. I truly recommend following NFT accounts on social media and listening to talk spaces- humanizing the process helps make it a lot easier to understand. Knowledge is truly power when it comes to creating, releasing, and consuming NFTs.

Follow Rozes on Twitter
Steam Rozes “Heart On Fire”

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Editor’s Note: NFT digital collectibles are a new way for fans to support the artists they love. In this series, I talk to artists who have ventured into this new space to learn about their experiences.

It feels like 2002 all over again. Twenty years ago, I started writing my first music blog to curate the barrage of MP3s floating around on the internet. I wrote stories about great songs I had found and interviewed the artists that had created the music. It was a bit like putting together a mixtape for friends and just sharing all these great finds with love and care. Fast forward to the world of Web3 today. Tons of noteworthy digital music collectibles are being released, but they are hard to discover for the casual music fan. With the growing amount of music NFTs out there, it’s essential to make it easy for folks to find the good stuff. We once again need a generation of curators to build an ecosystem of commentary, culture, context, and credibility around this new music revolution. It will help to add value, create community beyond investors, and give artists the shine they deserve.

Very much like my early blogging days, I’ve spent most of my free time recently browsing, surfing, researching, and listening to find great new digital music to highlight. One of the discoveries I bumped into this week was the “Killer” NFT by Sara Philips. She’s a Canadian artist I know very little about, but there’s an emotional pull deeply rooted in the song I find very compelling.

Sara Philips is by no means new to the scene. She first stepped into the spotlight, uploading videos to YouTube performing cover songs. Following tons of positive responses, she decided to move from her hometown of Montreal to New York City to pursue music full time. She played gigs across the city, tuning her craft while also recording her self-titled debut in EP that she released independently. In 2015, she moved to Los Angeles to broaden her scene and write more music. She released several singles that received playlist love, including “House On Fire” and “Six Feet Under.”

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The singer/songwriter jumped into Web3 late last year when she released her debut, or genesis, NFT for the music video for “Nobody Loves You.” She quickly followed with another music video collectible for the single, “Better When It Ends.” Both songs carry a very personal message and important sentiment for Philips, discussing her struggles with mental health and her experience with abuse. “I hoped each might be able to help others in some meaningful way,” she writes me.

She continued to raise awareness for causes important to her when she released a theme song and an animated video inspired by women in the NFT space— specifically the team at World of Women. Philips tells me, “I listed that NFT, and it was shortly after acquired by the World of Women team themselves, selling for .25 ETH. Within the week, my genesis, ‘Nobody Loves You’ and ‘Better When it Ends’ NFTs sold for 1 ETH each. So, within a week, I was able to earn 2.25 ETH from my music (at time of sale, a value of around $7,000).”

Ten percent of the sales of “WoW (Our Time Is Now)” was donated to charity, including the Malala Fund, advocating for girls education in countries in need; House of Ruth, for women and children of domestic violence; and The Loveland Foundation, providing support and therapy to Black women and girls in need.

Earlier in June, she shared her single “Killer” as a digital collectible on Mint Songs. The song will be available widely on June 24 via Distrokid. At 2 minutes and 22 seconds strong, “Killer” is a powerful and poignant mid-tempo ballad that tells the story of a relationship gone sour. The situation worsens with blame and lies further ripping the former lovers apart.

Philips doesn’t hold back and wears her heart on her sleeves. She shares her truth despite the gaslighting from her ex. “You’re not the type to let the truth fuck up a really good story,” the artist sings with her signature candy-coated vocals. “I guess I’m the bad guy, broke your heart and wrecked your whole life. I’m the monster that you made me (. . .) My hands are clean; you just need someone to blame; I get it.”

“Killer” was written by Sara Philips and produced by Mike Daley, Mitchell Owens, and Sara Phillips.

Sara Philips has successfully released several digital collectibles and contributed to the community in very meaningful ways in the last six months. Time to hear her experience in the Web3 music space and learn what advice she has to share for artists looking to jump in.

Arjan: Making songs available as NFT is a great way to build community and provide something unique to fans. What was your experience doing your drop via Mint Songs? Was it an easy process that you enjoyed?

Sara: “My experience with my Mint Songs drop was so seamless, and the Mint Songs team members made sure the artists were supported every step of the way. The Mint Songs platform is very user-friendly on both the artist/mint side of things and the consumer/collector experience. It’s easy to use and easy to understand, which I think is the most important thing for Web3 platforms to focus on, as so many people are so new to this space and might be minting their first-ever NFT.”

How has the response from fans been on the releases? Have they expressed concerns?

“The response from fans and followers in the Web3 space has been incredible. The Music NFT community is also just so welcoming and supportive. I think for fans who are not yet into Web3 and NFTs, it can seem a little strange and overwhelming. Still, I’ve tried to really help people understand how life-changing this can be, especially for independent artists. My fans and followers are so kind and generous, and at the end of the day just want to see me succeed, so they’ve been really supportive as well.”

How do you think music NFTs will support artists in future years? Do you feel it made a difference for you? Do you think it will spur more creativity?

“I really believe that music NFTs are changing and will continue to change the music industry as we know it. I think they will allow so much creative and financial freedom for artists and allow for such a profound and personal fan-artist experience because of the direct access and support that NFTs create. 

Music NFTs are already changing my life. It was always really important to me to stay as independent as possible as an artist. With this comes the challenge of making enough money to support myself and my career. Being an independent artist is incredibly expensive. Every studio hour, mix, photoshoot, video shoot, and marketing campaign comes out of your pocket. It’s also no secret that streaming doesn’t make artists a ton of money. 

My experience with NFTs has spurred more creativity and inspiration in me than I’ve felt in years. It has been incredibly refreshing and rewarding to feel the support for my work and connection to others that has come from NFTs. NFTs have also allowed me the financial freedom to spend more time creating and given me the resources to make my next project everything I could have hoped it would be!”

Are there other artists and advocates in the NTF the space you look up to?

“There are so many other artists and advocates in the space that I really admire. To name a very few, Latasha, Domino, Mike Daley, Tatiana DeMaria, Allan Kingdom, and all of the teams at Mint Songs, Pixel Bands, and WRPSsounds. There are so many people in this space doing so many incredible things I could go on for days.” 

What do you think holds artists back from jumping into the NFT space? What do you recommend to other artists who want to get into the space? What's a good way to start?

I think for a lot of artists, the NFT space can feel very overwhelming and confusing to get into. Also, most artists I know are already spending every waking minute on their art, booking shows, rehearsing, posting on social media, and possibly working side jobs. The idea of having one more thing to do and keep up with can feel absolutely impossible! I totally get that and felt the same way at first, but once you get into it, that will change quickly! 

I think the best way to get into the space is to spend time on Twitter, follow artists and projects in the space (the ones I named are all a great start), and listen to Twitter Spaces. I’ve learned so much by just listening in on different Spaces and getting into some Discord servers. Also, don’t hesitate to reach out to people and ask questions. I can’t say enough how welcoming, supportive, and generous so many people in this space are with their time, resources and knowledge. Reach out to me!”

Find Sara Philips on Twitter and Instagram.

Editor’s Note: NFT digital collectibles are a new way for fans to support the artists they love. In this series, I talk to artists who have ventured into this new space to learn about their experiences.

There’s a timeless quality about Ben Kessler’s music that I adore. His songwriting always manages to hit a nerve no matter what mood I’m in. The combination of his soothing vocals, vivid storytelling, and meticulous production are the perfect ingredients for a sound that can be universally understood and is uniquely his.

The Philadelphia-based Kessler first popped up on the scene with his 2019 debut single, the lovey-dovey “Good Enough,” which gave listeners a taste of his knack for crafting finely-tuned pop melodies. More great music followed, including the sublime “Even When You’re Home” and the gorgeous mid-tempo ballad “Known Like This” with its glorious, pop-perfect chorus that put Kessler right smack on my radar.

Songs like “Just Wanna Be Your Friend” and “Concrete” in 2020 helped to further detail Kessler’s brand of pop— a mix of introspective balladry and mid-tempo pop-savvy fare gently stirred by his soothing melodic vocals. The dualism in his music also applies to his lyricism that’s raw and instant yet subtle and poetic, as demonstrated by lines like, “Tell me that you really wanna know me. I’m falling fast and it’s on me. But I’m one fall away from the concrete. Hold me.” (from “Concrete”).

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After moving to Nashville to work on his music career, the self-proclaimed “aspiring supastar” returned to his parental home in Philadelphia during the pandemic. Being back home led to the recording of his Cruise Control EP that dropped in the spring of 2021.

Kessler writes about the experience, “It is a funny thing this EP was made in the same room I learned how to make music & fell in love with it. I am not religious and I am not overly spiritual but the universe works and it’s comforting to lean into fate sometimes. I think all these songs [on the EP] say this in some way.”

Quite certainly inspired by feelings of isolation and being back home in his parent’s basement, Cruise Control unveiled Kessler's moodier side with his signature candor threading through. Tracks like “Everything to Everyone” help tell Kessler’s story more than he knows, “Some days I’m the loudest in the room. Most days I don’t feel like talking too loud.” It’s that dualism clearly on display. On the confessional, “Lying,” Kessler admits that even though “I write a lot about love but I never even had one.”

Fans and lovers of great music will be happy to know that Kessler is preparing to release new music soon. TikTok has changed how traditional release cycles work, which allows him to rethink the best way to release new music and the cadence of introducing singles.

Kessler has been ahead of the curve, being fully independent, exploring new avenues to find an audience and fund his projects. He turned to Web3 to experiment with digital music collectibles for people to purchase with proceeds directly going to the artist. Kessler has released music NFTs via Catalog, sound.xyz, Glass, and Decent in the last year. It’s been a very successful journey for Kessler who shares some of his thoughts and learnings from his NFT experience.

Arjan: What compelled you to get into the music NFT space? How did it get started for you?

Ben: My brother is in tech and now a crypto-journalist, so he was already in this world. Also, a lot of my friends were getting into the space, and conversations about NFTs surrounded me right at the beginning of 2021. I finally took a real good look at it myself when Catalog started in 2021. I saw music artists finding success in this new space that seemed somewhat disconnected from music. I’ve always wanted to find a way to be involved in music but also have my hand in tech and figure out new avenues to build my career. I finally got the confidence to jump in late fall of 2021. I was a little scared, but when I did my first mint, I was like, ‘I’m in!’ My first few drops were on Catalog, and I have done a few in other places. I think I’ve done ten drops so far.

How do you think music NFTs will support creators? How has it made a difference in your career?

I think there are two aspects to it. First, it has helped tighten the relationships I have with my fans. The word ‘fan’ has a bit of a different meaning in Web3 because we’re talking about people collecting your music. Music NFTs close the gap between myself and those people and make the relationship more intimate. Music NFTs are about finding new ways to provide more value to fans and collectors. It can be giving my insights into my process or provide access to more content that I may not be sharing in other places. Second, there is obviously the aspect of funding. I’ve been able to put the proceeds of my NFT drops directly back into creating more music, visuals, and marketing so I can make my releases bigger. The payoff for a drop is immediate, and it’s funneled directly into the music. To make it even more concrete, my last NFT release was in January, and I was able to fund most of the music I’m planning to put out this year. So, music NFTs give me the flexibility to have funding without having to license my music to a distributor. Music NFTs have been a great resource.

What has been the feedback from long-standing fans who are not in the Web3 space yet?

I have friends who have received pushback from fans, but I haven’t. I think it depends on the genre and the narrative around NFTs in those communities - whether you’re a pop fan or hyper pop fan or electronic fan. I’ve received a lot of support in my lane. It can be confusing for people who have supported my music but haven’t dived into the music NFT space yet. I’m starting to see the two worlds starting to intersect though. I’ve seen a lot of collectors in Web3 who have become genuine fans in a Web2 sense, streaming my music for example, and I’ve seen Web2 fans who weren’t in the space jump in and create a wallet for the first time. I do zooms with my most engaged fans every couple of weeks, and people are helping each other [getting onboarded into the space].

I heard you try to know everyone who has collected your music so you can add them to a Telegram group and stay in touch.

Yes, that’s important to me. I think there is this unspoken sort of thing where the people that collect your music want to become close to the artist they’re supporting. I’ve tried to be proactive and thank people who have supported me. I think I've probably been able to find about half or a little more than half of everyone, but so many people are anonymous, and it's hard to track everyone down.

Do you spend a lot of time socializing in the Web3 space?

I spent a lot of time putting back into Web3, like being in Twitter Spaces. In terms of fully realizing my creative vision and creating the widest net possible when I do a release has definitely opened up the floodgates. It has given me more confidence to take risks creatively in places where I wouldn't be able to experiment before. I can now test the waters and see what works. That applies to music, money for visuals, marketing, or whatever it is. It definitely allowed me to be more creative.

What are other artists and Web3 advocates you look up to?

I’m a big fan of what Marian Hill has been doing in the space. Daniel Allen, who was one of the first calls in the music NFT space and has helped me a lot. Blockchain Brett [Brett Shears] was a huge advocate for me getting me into the space and helping me get my bearings. I look up to Vérité, she’s always experimenting. Reo Cragun, he’s incredible and always innovating. There are tons of people I look up to.

What do you recommend to artists that want to get into the music NFT space?

I'm a very actionable person, and I fully believe that anyone's first NFT  shouldn't or doesn't need to be an entire affair. I have a couple of links that I share with friends. One talks about how to set up a wallet, and the second link is how to mint an NFT on Zora. That’s an open protocol, and they do a nice job and support music NFT. So I say, just do it. Go for it. You can't have every single platform be open to everyone from the get-go, so you have to have curated platforms, but there's not enough space on these curated platforms to have every single artist who wants mint, so you have to start somewhere and I think Zora is a great place to start. Also, get on Discord and meet as many people as you can. Word of mouth goes a long way.

💻 Follow Ben Kessler on socials and find his music online.

Editor’s Note: NFT digital collectibles are a new way for fans to support the artists they love. In this series, I talk to artists who have ventured into this new space to learn about their experiences.

Alec King is on a roll. The independent hip-hop artist has been putting out new music at the speed of streaming to stir up momentum for his infectious brand of hip-pop. Hot on the heels of tracks like “Peanut Butter Cherry,” “Fell In Love 1nce,” and “Tundra,” King unveiled his new single “Jojo” on streaming platforms last week. The wide release of the single follows the initial drop of the song as a digital collectible on sound.xyz that sold out in minutes.

I first ran across King a few weeks ago when he messaged me out of the blue on Twitter with an invite to his show at the Troubadour. I was curious about seeing him perform, and wow, I was in for a treat. King infused his set with tons of charisma and positive energy that had the crowd fully engaged from start to finish.

The dynamic quality of King’s live show is also a core ingredient of his new single “Jojo,” which combines different aspects of King’s artistry. The song is a potent mix of pop and hip-hop that showcases his soundboard wizardry and engineering savvy with its crisp, airtight production. Backed by a happy-go-lucky guitar riff and punchy percussion, the story and presentation of “Jojo” is proof of King’s gusto and freewheeling spirit.

King laments about a love lost, but even though he mourns, he approaches the situation with a sense of musical optimism. King’s clearly a glass-half-full type of guy, which makes “Jojo” an unusually uplifting heartbreak song. An exception to the overall sonic aesthetic is the violin outro that unveils his melancholy more explicitly.

When discussing '“Jojo,” I can’t fail to mention the pig that graces the cover of the single. In a rush to create single art, King decided to think creatively. “I knew a friend who had another friend who had a pig in Venice, and his name was Gary,” Kings explains in a recent interview. He ended up doing a whole photo session with Gary The Pig that turned out to be a pretty darn iconic move. Plus, true to form, it adds a wink and a smile to a heartbreak song in a way that only King can think of.

Born and partly raised in Denver, CO, King moved to Los Angeles in 2010 with his family. Initially, his life was all about sports, but things changed when he downloaded T-Pain’s AutoTune app when I was 14 and saw how fun it was to create music. He attended the Los Angeles Recording School and became a sound engineer at a North Hollywood studio. The beatmaker engineered random sessions, but the best thing about his gig was that he could use the studio space after the day’s sessions were done to work on his own music.

“I approach music like sports,” King recently said in a Clubhouse Room interview. “If I just practice every day, I will get better and better.

King initially used SoundCloud to share his music and started building a following. He got signed to Heavy Group and Republic Records, which gave him a taste of what the music business was like. The experience gave him a tremendous opportunity to learn and work with people he admired.

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After parting ways with his record label, King looked into Web3 to explore new opportunities to release music at his own pace. It all started with a drop he did for “West Side” late last year that was released on Catalog. The drop garnered him “more than a million streams would pay out,” as he wrote on Instagram.

The experience of releasing his first NFT unlocked new creative opportunities for King that drew him deeper into the world of Web3, including drops on sound.xyz and Mint Songs. Time to learn more about King’s experiences navigating this new space of music collectibles as an independent artist.

Arjan: Making songs available as an NFT is a great way to engage with fans and have creative freedom. How many music NFTs have you released, and what compelled you to get into the space?

Alec: I was introduced to this space by a couple of music NFT collecting friends I made on Twitter actually. They pointed me in the direction of Catalog, where I released my genesis [debut] NFT “West Side.” Since that one, I’ve minted and sold 1/1 editions of songs on Catalog. Then I eventually did a drop on sound.xyz as well with 25 editions of my song ‘Jojo’ which just dropped this past Friday for streaming. 

How do you think NFTs will support creators including yourself? How has it helped it in your career?

When I started making music, I would live on Soundcloud—whether I was finding new music or trying to share mine. I would send messages promoting until my account literally wouldn’t let me. Over the years, I have craved an outlet like that. Web3 music gives me that exciting feeling of a new space for that. My experience in the industry has shown me that being an independent artist may mean you are financially at a disadvantage compared to big-label artists. The music NFT world has opened the doors to potentially even the playing field regarding seeing actual profit from your art. As artists, we are so trained to be shocked to see income like that from what we create. That is BS, and one of the goals of Web3 is to change that. I’m now able to release a song and see some immediate return (or investment if I keep it in ETH) which helps pay my producer and video friends.

Have you redefined what success means? Is it a big playlist add, a sold-out tour, or a successful NFT drop?

I think in order to be successful in any field you have to keep your eyes on all of your lanes (or at least have people that can help with that.) I think whether it’s a big playlist add or a big NFT sale, they all work together to build the artist’s journey. I couldn’t pick which is more important because they both have such a big role. My advice for Web2 artists making the Web3 transition is to not bail on Web2 and all you’ve worked to build there. One helps the other. Keep rocking in both lanes. I’ve noticed a lot of people including myself use their Twitter page to be active with their Web3 community and fanbase. That way you can keep doing what you have been doing on Instagram and Tik Tok to see what works for you. Because when one pops off, they all pop off.

Are there other NTF advocates in the space you look up to?

Definitely guys like CoopahTroopa [Cooper Turley] and BlockchainBrett [Brett Shear]. I will drop some @’s here and that way you can do a little dive and follow some people who may be able to help: @Cooopahtroopa, @web3brett, @imdanielallan, @CallMeLatasha, @oshimakesmusic, @catalogworks, @soundxyz_, @venicemusic, and @karmawav.

What do you think holds artists back to jump into the NFT space? What do you recommend to other artists who want to get into the space? What's a good way to start?

When just beginning it really feels like you are learning a different language. It is extremely intimidating. But if you just ask the ‘stupid’ questions and get active on Twitter you will really surprise yourself. I would follow all those pages above and check some more accounts I interact with. I am @aleckingmusic on Twitter.

What did I not ask that I really should be asking?

Something that helped this click for me was when I learned that the ownership of a music NFT does not have anything to do with the master of the song or streams. There are ways to combine those but generally, they are separate. Look at it as a digital piece of merch with the song attached to it. 

Stream Alec King “Jojo”
Follow Alec King on Twitter and Instagram

Editor’s Note: NFT digital collectibles are a new way for fans to support the artists they love. In this series, I talk to artists who have ventured into this new space to share their experiences.

Following his successful NFT release earlier this year, singer/songwriter Peter Saputo returns this week with his brand new single, titled “maybe i’ll talk to jesus,” that’s available on streaming platforms now. It’s another noteworthy release from an exciting new artist who has been stirring up a storm of interest in Los Angeles by playing gigs, frequently dropping new music, and exploring Web3 to build community.

Saputo is a compelling songwriter and gifted live performer who can confidently rock the stage but also scale things down for an intimate acoustic set. It’s proof of his versatility and the timeless quality of his music. Written together with Tommy Allen, Saputo’s new single “maybe i’ll talk to jesus” showcases his rockier side with its steady percussion, arena-sized chorus, and the singer’s searing and soaring vocals that mimic his dynamic live performance. The track is a worthy follow-up to “Wishing,” and will surely be a fan favorite during his shows.

Saputo has been playing the guitar for almost as long as he can remember. He grew up on a steady diet of rock, pop, and worship music that helped shape his knack for big melodic hooks and inspired lyricism. The first song he put out on streaming services was only intended for friends, but it was picked up by some big playlists and became the debut he’d always dreamed of. Encouraged by this first taste of success, Saputo moved down to Los Angeles to pursue a full-time career in music.

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Fast forward a couple of years, which brings us to the release of new music this week. Just days before the wide release of “maybe i’ll talk to jesus,” Saputo decided to make the track available on Zora to give his fans an opportunity to hear the music early and collect it.

After his move to Los Angeles from the Bay Area, Saputo has immersed himself in the local Web3 community to learn, connect, and think about creative new ways to build his fanbase.

In fact, it was Saputo who unlocked the world of Web3 for me. For the longest time, I was a skeptic about Web3 and NFTs, but Saputo used real-life examples of how digital collectibles can radically impact the careers of creators. His perspective completely changed my outlook on the Web3 movement.

To celebrate the release of his new music, I sent Saputo a few questions to hear about his experiences navigating Web3 as an independent artist to give others the encouragement to dig in and participate.

Arjan: Making songs available as an NFT is a great way to engage with fans. What was your experience doing your first drop via sound.xyz?

Peter: “My experience doing a drop on sound.xyz was insane! Prior to my drop, I was tuning into practically every single Twitter Space and listening party that sound.xyz hosted since they launched. I also got to meet some of their team at the SXSW event they hosted, so I had a lot of hype and excitement built up by the time they asked me to do a drop. It worked out perfectly because I already had a song ready and scheduled to release on DSPs on the same day that they wanted me to do the drop. It couldn’t have worked out better. I sold 25 editions at 0.1 ETH each, and it sold out within 30 seconds. It really just blew me away with how supportive people are in this space. I had never felt properly valued as an artist until this drop.”

How has the response from fans been on the sound.xyz drop? Did that inspire you to do a drop on Zora?

“The response was honestly something I’ll never forget. Because it had sold out so quickly, there were a few people that weren’t able to collect it from the initial mint, but wanted it so badly that they bought it on the secondary market. It was so incredible seeing so many people, who were either prior fans or new fans, directly connect to the song right away. It made me so happy. I’m honestly still on such a high from all of it. Since my sound.xyz drop, I have had multiple collectors buy tickets to my shows and come show further support. It’s all made me very eager to keep minting and building community, so I minted my new song “maybe i’ll talk to jesus” as a 1/1 music NFT on Zora.co.”

How do you think NFTs will support creators including yourself? How has it helped it in your career?

“To me, one of the coolest things about NFTs is being able to connect with your true fans. Rather than Instagram and TikTok, where you gain followers who maybe will stream your new song when it comes out, you are able to build a community of supporters who want to pre-save your songs, who want to buy tickets to your shows, and who want to collect your music. It’s such a beautiful thing and unlike anything I’ve ever experienced within the music industry. I think anyone can directly see how Web3 has helped not only my own career but many other artists’ careers. It has provided me with top-tier fans and supporters, a way to connect with people on a different level and find funding to be able to pay rent and keep making music full time.”

Are there other NFT advocates in the space you look up to?

“I definitely look up to the homies Grady, Daniel Allan, DLG, bloody white, Reo Cragun, Karma.wav, Bruno Neves, and so on. The list could go on forever honestly. They all have really paved the way so that an independent artist like myself can just hear about Web3, learn, adapt, and get plugged into the space. It’s very clear how hard these people work. Also, I can’t forget about Cooper Turley, who is one of the first people I met in the space and someone that I have consistently been able to learn from. I honestly feel bad not going on forever, there are so many amazing humans, artists, builders, and others that I look up to in this space. Everyone is working so hard and doing so many cool things.”

What do you think holds artists back to jump into the NFT space? What do you recommend to other artists who want to get into the space? What's a good way to start?

“I think one of the biggest things that hold back artists to jump into all of it is that it’s not exactly the easiest thing to get into. There is still a lot of work that I believe needs to be done to make onboarding artists (and fans) easier, but we will get there—we are still so early. I also think that not everyone necessarily wants to hop on Discord and Twitter Spaces, and start building community. It can sound kinda corny. Truly the greatest way to start is to get active on Twitter and join a Discord, and just talk to people. It’s a lot more fun than people might think. Regardless of starting out in Web3, Discord has been such an amazing tool to engage and interact with my Web2 fanbase. It’s way more fun than making TikToks, lol.”

Stream Peter Saputo “maybe i’ll talk to jesus”
Follow Peter Saputo on Twitter, Instagram, and Discord.

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Editor’s Note: NFT digital collectibles are a new way for fans to support the artists they love. In this series, I talk to artists who have ventured into this new space to share their experiences.

There is a new generation of artists entirely committed to making Web3 their primary space to release music and connect with fans. South African R&B artist Kaien Cruz is one of those forward-focused creators who is making music available on their own terms in exciting new ways.

Cruz’s partnership with graphic artist Somehoodlum is a great example of that. Together they partnered with Soundmint.xyz to release the Back In Time NFT that combines Cruz’s music with Somehoodlum’s visuals. Cruz made 100 music stems available to create a unique audio experience for every NFT sold along with access to shows and exclusive merchandise. The concept is pretty darn cool and executed to perfection.

It’s not the first time Cruz made moves in the Web3 space. Following an NFT crowdfunding project last year, the artist successfully released the track “Kiss Me Like I’m Drowning” as a music NFT on sound.xyz earlier this year. (The song will finally be made available on traditional streaming platforms on June 14.)

Written by Cruz and produced by Tre Wright, “Kiss Me Like I’m Drowning” is a tastefully crafted pop R&B gem that showcases Cuz's innate ability to create emotionally honest balladry that feels both timeless and very now.

Cruz's talent was first noticed when the singer started uploading acoustic covers to Instagram that were discovered by South African music producer Sketchy Bongo. He invited Cruz to add vocals to tracks like “Love Me In The Dark” (2017), which hit the top of the local charts and earned Cruz a South African Music Award nomination. Cruz’s career took flight when they were invited to open for Justin Bieber on the South African leg of his Purpose tour in 2017.

Following the releases of tracks like “Dangerous,” “XNO,” and the Demos For Ransom EP, Cruz decided to explore new ways of releasing music to “retain control” of their art and build a community of fans. It was a move that was very intuitive to Cruz. “Growing up queer in a small town meant it was always easier to talk to people online that I could relate to,” they write on sound.xyz. “Platforms like Tumblr played a big role in cultivating space and community, where I could connect with like-minded people. I have found this same sense of connectivity and community in Web3.”

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One of Cruz’s first Web3 endeavors was the launch of a crowdfunding campaign to build a community of fans to support their music by providing supporters with exclusive content, fan merchandise, access to headlining shows, and more. Cruz writes, “I want to encourage others to stop fighting for a seat at a table that was never built for them and instead create their own table, specially curated to their needs, interests, and passions.”

I shared a few questions with Cruz via email to get their take on pioneering the Web3 space and understand how they value music NFT collectibles as a way to fund their artistic endeavors and build a deeper connection with fans.

Arjan: Making songs available as NFT is a great way to establish a deeper connection with fans. What was your experience doing the drop via Sound.xyz?

Kaien: Music NFTs are not only changing the value of music but also building a more exclusive experience with the people who truly support you. Dropping on sound.xyz was the smoothest experience for me in my music career so far.

How has the response from fans been on the first drop? Did that inspire doing another drop?

The connection with the music NFT community is only growing, so many big things happening and it definitely has catapulted me into my next drop with SoundMint x Somehoodlum on May 26th.

How do you think NFTs will support creators, including yourself?

Financially, NFTs are a way bigger income flow than most independent artists get off of streaming numbers.

Are there other NTF advocates in the space you look up to?

I have been blessed to have people like Oshi, TK, Zach Katz, Cooper, Somehoodlum, and the Soundmint team around me, I learn a lot from these amazing minds.

What do you recommend to other artists who want to get into the space? What's a good way to start?

I'd say the best way to start is with learning the basics of Web3/blockchain technology/smart contracts and cryptocurrency, then start finding people in the community to connect with that can put you on to a lot of amazing tools you can utilize in the Web3 space.

Follow Kaien Cruz on Instagram.

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Editor’s Note: NFT digital collectibles are a new way for fans to support the artists they love. In this series, I talk to artists who have ventured into this new space to share their experiences.

I’ve been a long-time fan of Swedish dance-pop duo NOTD (pronounced ‘noted’) and I love how they’re navigating the future of music by making their recent singles available as digital collectibles. Time for a quick chat via email and get their take on music NFTs and how these collectibles impact their relationship with fans.

To the uninitiated, NOTD is the pairing of producers/songwriters Sam and Tobi. The group first stepped into the limelight with the global pop hit “I Wanna Know” featuring Bea Miller in 2018. Since then, Sam and Tobi have continued to deliver high-grade, chart-ready pop gems featuring highly sought-after collaborators like Astrid S, Shy Martin, Tove Styrke, and The Band Camino

NOTD recently released their new single “Worst Thing” (featuring kenzie) as an NFT for fans to collect on sound.xyz. It was the second time that they dropped a track on the music platform after previously successfully releasing a collectible for “about you,” their collaboration with pop outfit Nightly. The initial drop of the “Worst Thing” sold out quickly, but if you’re passionate about NOTD’s project, you can try to bid on OpenSea and continue to support the group.

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Let’s dig a little deeper into “Worst Thing” to create more context around the song that fans now have an opportunity to invest in.

“Worst Thing” was written by NOTD’s Sam Brandt, Tobi Danielsson, along with featured collaborator kenzie, plus a slew of hit writers including Julia Michaels, Justin Tranter, and Selena Gomez. The track was produced by NOTD and Noble.

The track reminds me exactly why I have such an appreciation for NOTD’s music. Sam and Tobi have a knack for combining a strong sense of melody with crisp production stylings. Per usual, they also throw in a bit of soundboard candy that makes every single NOTD track a delight to the ear. Kenzie added her own unique twist to the song with her disarming delivery that amps up the emotional intensity of the song.

“Worst Thing” is exactly the type of song that music fans may want to collect and cherish. Time to dig in with Sam and Tobi and learn more about their web3 adventures.

Arjan: Making your songs available as NFT is a great way to establish a deeper connection with fans. How did you feel about doing two NFT drops and helping pioneer the space?

NOTD: We don't feel like we're pioneers in any way but maybe being a major label artist doing drops at this stage is a bit surprising. We had support from our team at Universal Sweden who totally has our back and gets the purpose of what we are trying to do with music NFTs. As producer artists, we have to get creative when it comes to building a fan base. We don’t sing on our records, which is the traditional way that artists develop that deep connection with their fans, so we love finding new and organic ways to do so. Both drops so far have accomplished that at a small scale which has us very excited for the future.

How has the response been from fans on this new way to share your music?

It's been amazing. On sound.xyz you can see live comments on the drop and they’ve all been positive, and that's very fun to see. For the “About You” drop, holders can claim a free custom t-shirt, and the reaction to that has been great too although we're not sure every holder knows that they can do that. We need to spread the word! Overall, we’re pretty new to the space as a contributor (we've lurked since 2020), so getting such a warm welcome has been great and we are very interested to see how we can keep rewarding our collectors.

Fans who normally would buy their favorite artists t-shirt or poster can now have a digital item that signals they are a fan and we think that's the future.

How do you think NFTs will support creators including yourselves?

It's a way to connect with fans in a new and different way, more direct and it can be more personal. Also, it's an additional revenue stream for artists that just didn't exist until now. Fans who normally would buy their favorite artist’s t-shirt or poster can now have a digital item that signals they are a fan and we think that's the future. Most artists we see doing drops at the moment are independent so the income from their sales will definitely support them since they are not giving a chunk of the money to a label, plus it will get a lifelong royalty on their art and that is really good.

Are there other NFT advocates in the space you look up to?

We've learned a lot by talking to people like David Greenstein at sound.xyz, our manager Jon Allen at Buddys, and also just by following people in the space on Twitter. Seeing what 3lau has done for the space is also super inspiring. There is so much information out there. You just have to find it and immerse yourself in it. We're learning so much.

What do you recommend to other artists who want to get into the space? What's a good way to start?

Things move super fast and it's sort of overwhelming but do your best to stay updated and get involved in conversations about it on social media. Don't be scared to ask questions. Maybe the first step is to buy an NFT from an artist you really like, both to support and as an experience to get yourself into the space. One of the first music NFTs, we bought was from Medasin, who we are big fans of and it was a very cool experience.

Follow NOTD on Instagram, Twitter, and Sound.xyz. Sam and Tobi will kick off a headline tour after the summer. Get your tickets here.

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