Season 2 – Episode 20: John Dougherty – Keep Your Attendee In Mind At Music Festivals


This week I am talking with my long time friend John Dougherty who is the director of Lifest Music Festival in Oshkosh, WI and Nashville, TN. We are talking about his rise through the ranks from a stage hand to the man in charge of one of the largest Christian Music Festivals in the country.  Also, we are discussing the importance of being kind to festival workers when you are an artist performing at a festival and the steps you can take if you are interested in working at a festival.

PLUS: Lifest is back in business this summer after having to take 2020 off.  I will be performing, hosting a stage, interviewing artists and hosting a LIVE version of the podcast and you can be there! WI – July 8-11, 2021 and TN – July 29-31, 2021. you can get a $5 discount on Adult Full Event Tickets by using the coupon code: JMK at checkout. Go to for details. I hope to see you there and meet you in person!

Sponsors: Edenbrooke Productions – We offer consulting services and are offering listeners a 1-hour introductory special. To request more info on consulting services, email Marty at

In this episode we talk about:

*Being the director of Lifest Music Festival, one of the largest Christian music festivals in the country.
*The Christian Festival Association. 
*The importance of becoming a member of the CFA if you run a festival.
*Owning your own gear, lighting and sound system so you can run shows for you and other bands.
*Having a business mindset even as a teenager.
*Reinvesting in your gear to build a better set up.
*Working your way up the ladder working at a festival.
*The job description of a stage manager at a festival.
*What a production manager does.
*What “buying” production means.
*Making sure the attendee gets the best experience.
*Check your ego at the door.
*Keep your attendee in mind.
*You can make a living outside of a major music city as an artist, producer and/or festival.
*The promoter books bands to play the main stage.  You won’t get a main stage slot by sending an email.
*Personal connections are so important.
*Promoters are checking out your social media to see if you are talking positive or negative about your previous venues.
*Be positively engaging your audience.
*How you get paid to play a music festival.
*What determines if you get to play again the following year.
*Stage managers are the gate keepers.
*The importance of being kind to lower level workers.
*Everything you do can make or break you.
*If you want to work a festival, take any job that is offered to you.
*How to get a job working at a festival.

John Dougherty grew up in Appleton Wisconsin and has stayed a home town boy. He has played drums most of his life and has toured with various bands around the region while building his production company, Welcome Place Productions, which offers sound and lighting for bands and other shows. 
He also works for Life! Promotions which envisions a place where youth can express and celebrate their faith in a positive and safe environment. John is the director of Lifest, an outdoor music festival, which allows the entire family to come together for worship, fellowship and teaching with more than 100 Christian artists and speakers. Lifest is one of the largest Christian music festivals in the nation. 

Season 2 – Episode 19: Catherine Joy – Be Careful How You Represent Yourself


This week I am talking with composer Catherine Joy.  Catherine is the founder and CEO of Joy Music House, which is a full service score production company in L.A.. She is also the Vice President for the Alliance for Women Film Composers. Her music has been featured on projects for Netflix, Amazon and HBO to name a few.  Today we are talking about the importance of having a mentor when starting your career, the difference between, composing, arranging and orchestrating a project and the importance of how you represent yourself when connecting with clients and other composers you want to work with.

Sponsors: Edenbrooke Productions – We offer consulting services and are offering listeners a 1-hour introductory special. To request more info on consulting services, email Marty at

In this episode we talk about:

*Networking with composers.
*Joining different composer organizations to meet people in your field.
*You have to become a part of that community.
*Mentors get you in the door but you have to be able to do the work.
*Ask mentors to help open doors for you.
*Joy Music House is her production company that does score producing for tv/film.
*Orchestrating means taking someone’s midi string files and breaking them out to make sure every note is arranged correctly for a live orchestra.
*Composing means creating your own arrangements.
*Arranging means taking a concept or music and adding elements or changing things around to complement the picture.
*How production companies get to know our work.
*How to market yourself on social media.
*If you cold call anyone, be thoughtful about how you reach out.  Do your research.
*Be careful how you represent yourself.
*Ask “how can I help you?”
*If you’re good, you’re going to find work.
*Get someone to check your work.
*When you make mistakes, take ownership and say “I’m sorry.”
*Be persistent but polite.

Catherine Joy – Music For Media

With a passion for music and collaboration, Catherine Joy is a composer for film, media and live performance. She won Best Documentary Score for the uplifting feature documentary Gold Balls. She recently scored the multi-award winning documentary The Augmentation of Douglas Engelbart (now streaming on Amazon Prime), the supernatural thriller The Parish and documentary Naughty Books which features narration by Aisha Tyler and Allison Tolman and premieres at Cinequest Film festival, March 2020. 

Catherine is the founder and CEO of Joy Music House, a full service score production company. She is also the Vice President for the Alliance for Women Film Composers.

Catherine has scored a number of series, starting with Capitol Hill which began on youtube and is now televised throughout Canada and Europe. More recently she scored the sci-fi dramady Abby and Tabby Alone in the Desert (now streaming on Seed and Spark) the documentary series Women of the Island, and No Matter What, which released on youtube September 2019. She contributed additional arrangements on the Emmy-award-winning Netflix doc series Wild Wild Country. Most recently Catherine worked on the History Channel 3 night miniseries event WASHINGTON, premiering Feb 16, 2020. Catherine also lead Joy Music House team in score producing Homecoming Season 2. 

Catherine is currently scoring the video games The Endless Mission and Beyond Blue. She is also working on a Ballet in collaboration with choreographer Rival Tribe which will premiere end of 2020.

Catherine & Joy Music House worked on notable feature projects. Catherine score supervised and orchestrated on Minari which one the Grand Jury and Audience award at Sundance 2020 along with the emmy-nominated scores RBG and Love, Gilda. She also score supervised the HBO documentary At The Heart of Gold and the feature Son of The South executive produced by Spike Lee and directed by his long-time editor Barry Alexander Brown. Catherine was also the orchestrator on the animated series High Guardian Spice, set for release in 2020. 

She graduated Summa Cum Laude with a Bachelor of Music at Cornish College of the Arts. She then completed her Masters of Music from Boston University and also went through the Pacific Northwest Film Scoring program in 2011.Catherine is from Tasmania, Australia. She moved to the United States in 1998 to pursue a career in music and plays many instruments including violin, piano, and guitar.

Season 2 – Episode 18: Steven Scharf – Always Go With Your Gut Instinct


This week I am talking with my friend Steven Scharf in Rhode Island. His company, Steven Scharf Entertainment, works with independent artists and producers to get their music licensed in tv and film projects. Steven also served as Senior V.P. Creative for the publishing company Carlin America, and oversaw the licensing of songwriters and artists like AC/DC, The Turtles and James Brown. Plus, he has worked in the studio with The Rolling Stones, Aretha Franklin and Lynyrd Skynyrd and you are going to hear some amazing stories of how he was able to step into that world in the first place.  We are discussing the importance of networking, having a special “voice” in your writing and making sure you know who the people are that you are trying to reach out to and what their companies are all about before contacting them.

Sponsors: Edenbrooke Productions – We offer consulting services and are offering listeners a 1-hour introductory special. To request more info on consulting services, email Marty at

In this episode we talk about:

*Getting to watch legendary rock & roll and R&B studio sessions recorded live.
*Always go with your gut instinct.
*Honing your craft.
*Networking is the biggest part of everything.
*It’s about the songs.
*You’ve got to have great songs.
*New composers need to work with young film makers.
*Finding internships to work in the industry.
*Take every opportunity that comes your way.
*Find people that can help you grow.
*Building deep, long lasting relationships with good people.
*Composers need to have a special “voice” in their writing.
*Producers need to have a vision when making a record.
*Exclusive vs. non-exclusive deals
*Never sign to a licensing company that asks you to pay them to pitch your music.
*Networking at conferences.
*How to send the right kind of emails to agents and supervisors.
*Make sure you know who people are, what they do and what their companies are about.


Steven Scharf Entertainment was formed in 1991 to manage and develop the careers of independent record producers and recording artists. At that time, Steven aligned himself in a joint partnership with Freddy and Caroline Bienstock of Carlin America, Inc. – one of the most prestigious independent music publishers in the world. Today, Steven Scharf currently serves as Senior V.P. Creative for Carlin America, and oversees the licensing of well established songwriters and artists such as AC/DC, Jim Steinman (Meat Loaf), The Lovin’ Spoonful, The Turtles, James Brown, Bobby Darin, and Billie Holiday.
Prior to the creation of Steven Scharf Entertainment, Steven Scharf spent nearly  30 years working in the recording industry as a record producer, head of A&R, and talent manager. His career began in 1969, when he was privileged to apprentice at the famed Muscle Shoals studio in Sheffield. Alabama. While there he worked with legendary artists as The Rolling Stones, Aretha Franklin, Boz Scaggs, Lynyrd Skynyrd, R.B. Greaves, and with such producers and engineers as Ahmet Ertegun, Jerry Wexler, Tom Dowd and Steve Smith.  
As his career progressed, Steve moved on to work at GSF Records in the early 70’s and held a staff editorial position at Cashbox Magazine.  In 1976 Larry Uttal tapped him to become Head of A&R at Private Stock Records, where he oversaw A&R for such artists as The Mighty Pope, Blondie, Robert Gordon & Link Wray, Benny Mardones, Rupert Holmes, The Dirty Angels and Samantha Sang.  Steve produced many artists during the late 70’s, early 80’s such as Robin Lane and the Chartbusters, Bob Halligan and Duke Jupiter (Motown).
In recent years Steven Scharf Entertainment has become an LLC, and evolved to include the film and television licensing of many new independent artists. Following the trend of major television shows which prefer “one-stop shopping”, Steven began representing a diverse range of artists who control their own publishing and masters. This approach created an advantage with music supervisors who require music on short deadlines; removing the need to negotiate at length with publishing companies and record labels. 

Season 2 – Episode 17: Alex Geringas – Focus


This week I am talking with hit songwriter, composer and producer Alex Geringas from the company Rare Behavior. His songs have been recorded by Snoop Dogg, Jessie J and Cher to name a few and his music is used in multiple movies including Pitch Perfect 3 and The Lego Ninjago Movie and the tv shows Beat Shazam and Trollstopia. We are talking about what it’s like to produce major artists who are recording your songs, the differences in scoring music for film vs. tv and the reality of professionals having to prove themselves with every new project even when you have a list of successes in the business.

Sponsors: Edenbrooke Productions – We offer consulting services and are offering listeners a 1-hour introductory special. To request more info on consulting services, email Marty at

In this episode we talk about:

*Composing for tv shows and movies.
*Working with artists in the studio as a producer.
*Scoring film is completely different from a tv show.
*The hardest genre to score is the one that is not yours.
*The difference between scoring music for live action vs. animated shows.
*Learning what the producers and directors want.
*Building relationships.
*The best way to network.
*Keep yourself updated and learning.
*You have to invest in yourself.
*How music is created for tv shows.
*How to get your foot in the door working for a composer.
*Professionals have to prove themselves with every project.
*Focus on one goal.


Multi-award-winning Songwriter / Composer Alex Geringas has garnered international acclaim for both his songs and scores.  His music has earned him awards and recognition on several continents including a Grammy award, BMI Awards,Emmy and Annie nominations for his Scores and two Echo awards (the German equivalent to a Grammy). In 2019 Alex was nominated to be a Judge at the Annie Awards.
Before Geringas relocated from Hamburg,Germany to Los Angeles in 2011 he had eighteen #1 Hits worldwide, as Songwriter including eleven # 1 hits in Germany, Austria and Switzerland, six #1 hits in Japan, two #1 in South Korea.His songs were performed by music icons including Snoop Dogg, Jessie J, Timbaland, Cher, Kelly Clarkson, Ben Schwartz, Dove Cameron and many more.
Also Alex scored some of the most successful films in Germany in the last years “I’m Off Then” for Universal Germany and the highly acclaimed Family Trilogy “Hanni & Nanni 1-3” for Warner Bros. Germany.
Alex has currently 12 Theme Songs on TV with Disney, Dreamworks, Henson and Nickelodeon. For example FAST AND FURIOUS : SPY RACERS, WORD PARTY, RAINBOW RANGERS and VOLTRON, LEGENDARY DEFENDER and the upcoming Shows TROLLSTOPIA and THE CHICKEN SQUAD. Additionally, he contributed songs for the PBS Show SPLASH AND BUBBLES, SUPERMONSTERS and many more. In the Game Show Category, Geringas has written themes for BEAT SHAZAM (FOX) , SING YOUR FACE OFF (ABC) and most recently he did all the Music for CHRISSY’S COURT on Quibi.
Alex Geringas Music for the big screen includes end title songs for ICE AGE 5, THE NUT JOB 2, WOODY WOODPECKER (theme and all songs) and for THE LEGO NINJAGO MOVIE where he also contributed additional music. Other original song contributions include the TV series’ THE MUPPETS (ABC), TRAINING DAY (CBS) and CSI (CBS). 
Alex also contributed additional music for PITCH PERFECT 3 and UNCLE DREW. He also contributed Original Songs for the Robert De Niro and Uma Thurman film THE WAR WITH GRANDPA (D : Timothy Hill) and wrote Additional Music for the Melissa McCarthy film HAPPYTIME MURDERS. Besides that he just worked with Hans Zimmer and with Director Timothy Hill on the upcoming THE SPONGE BOB MOVIE : SPONGE ON THE RUN for Paramount Pictures.
After completing the score for TROLLS THE BEAT GOES ON for DWA/Netflix in 2020, Alex is currently scoring the new Trolls TV Show TROLLSTOPIA and the Disney Jr. Show CHUGGINGTON (Season 6).  He has teamed up with Mike Himelstein as the Episodic Songwriter of the upcoming Disney Jr. Show THE CHICKEN SQUAD.  He also is scoring and writing all songs for an upcoming Netflix Animation TV Show.  Additionally, Alex is scoring two unannounced projects, a Netflix Animated Feature and a Nickelodeon Animated Feature.

Season 2 – Episode 16: Daryl Berg – You Have To Understand What Your Audience Is


This week I am talking with Daryl Berg who is the music supervisor for Crown Media which owns The Hallmark Channel and Hallmark Movies and Mysteries.  He has also worked with Fremantle Media as head of music and worked on various game shows. We are talking about the kind of music Hallmark is looking for and the kind of music composers need to create if they want to get into game show music. Plus, the importance of knowing who your audience is when creating music for tv.

Show Notes: 
Sponsors: Edenbrooke Productions – We offer consulting services and are offering listeners a 1-hour introductory special. To request more info on consulting services, email Marty at

In this episode we talk about:

*Doing music supervision for Crown Media: The Hallmark Channel, etc.
*Music for game shows should be short, sharp and shocked.
*Game show music composers should make friends with production company people.
*The kind of music needed for Hallmark movies and shows.
*Budgets decide if the music used is major label or indie artist.
*Being on a music supervisors list is a privilege.
*Don’t call me, email me.
*You have to understand what your audience is.
*Find an agent who works with Crown Media to rep your music.
*Be polite.
*Follow up once a month, not once a week.


Daryl Berg currently is the Vice President, Music Strategies and Licensing for Crown Media; parent company of Hallmark Channel and Hallmark Movies and Mysteries where he overseas all music strategy and supervision.  Prior to that he re-launched Sound Canyon in Fall of 2015 after serving as Vice President, Head of Music for FremantleMedia North America, where he handled music supervision and licensing, oversaw and grew their publishing assets, and worked with both television and digital departments on the developmental sides. Prior to that he served as Vice President of Music for Shine America from 2011 to 2013, where he was responsible for Shine America’s music strategy, expanding the company’s music portfolio, helping to develop music-based productions and building licensing properties across scripted, unscripted and digital productions.Prior to joining Shine America, Berg served as Director of Music for FUEL TV, where he spearheaded the overall music strategy for the network. His responsibilities at FUEL ranged from music supervision to licensing and booking bands to overseeing the network’s music marketing campaigns.Before FUEL TV, Berg was Director, Business Development for EMI Music, developing business opportunities for the company and creating new media licensing proposals, including digital music subscriptions, internet radio, online video and set-top box content deals. Previously, Berg co-created Crusty Old Timer, Inc., a music supervision and placement company based in Los Angeles. He also formerly served as founder/Vice President, Strategic Planning for The Orchard, an independent music and video distribution company.  He’s a graduate of University at Albany and Benjamin N. Cardozo School of Law and lives in Los Angeles with his wife Nina and their daughter Lennox.

Season 2 – Episode 15: Glory Reinstein – The Song Has To Fit Like A Glove


This week I’m talking with Glory Reinstein who is the owner of the sync licensing agency Song and Film which I am honored to work with.  We are talking about the day to day aspects of running a sync licensing agency, what to know when starting your own sync agency and the importance of the music needing to enhance, not distract from the story.

Sponsors: Edenbrooke Productions – We offer consulting services and are offering listeners a 1-hour introductory special. To request more info on consulting services, email Marty at

In this episode we talk about:

*Being the owner of Song and Film sync licensing Agency.

*You need great production.
*I look for great Americana music and great hip hop artists.
*Music Supervisors want songs to breathe, not too wordy.  
*Supes want stems as well as instrumental.
*I work non-exclusively.
*Licensing fee percentages.
*Different genres of Christmas music that are requested.
*The amount of briefs sent.
*The song has to fit like a glove in a scene. 
*The process of songs getting placed.

*Building trust with supervisors.
*Day to day aspects of running a sync licensing agency.
*Starting your own sync licensing agency.
*The e-book “Thinking in Sync” by Amanda Kreig Thomas on Amazon.
*Knowing what Music Supervisors really want.
*“How To Make It In The New Music Business” by Ari Herstand on Amazon.
*“Making Music Make Money” by Eric Beall
*“All You Need To Know About The Music Business” by Donald S. Passman on Amazon.
*Sync music needs to enhance, not distract from the story.


Glory Reinstein received her B.S. in Music Education at the University of Vermont and her M.S. at Central Connecticut State University. She taught music at the high school level in three different high schools over the course of 38 years. While teaching, she was a guest conductor for a few high school music festivals and served as President for one term for the Vermont Chapter of the American Choral Director’s Association as well as President for one term for the Vermont chapter of the Music Educators Association. Ms. Reinstein garnered four awards during her teaching career including Vermont Music Educator of the Year. 
As a result of her son pursuing a singer/songwriter career, Glory got interested and involved in not only helping him with promotion and publicity, but also other local artists. After taking online courses at Berklee College of Music (Boston), she started her own business, Malletts Bay Music, and ran it while still teaching. In 2015, when she retired from teaching, she began working with the founder of Song And Film and eventually took over the business. Since then she has signed many new artists and has licensed several songs on their behalf. 

Season 2 – Episode 14: Christian Michael Sancho – Do Your Homework And Be Open To Learning


This week I’m talking with my good friend Christian Sancho. Christian is a professional touring bass player who is currently working with country artist Ashley McBryde. We are discussing the dos and dont’s when auditioning to be in a band for a major label artist plus, the differences in playing small venues vs. large arenas and late night talk shows.

Sponsors: Edenbrooke Productions – We offer consulting services and are offering listeners a 1-hour introductory special. To request more info on consulting services, email Marty at 

In this episode we talk about:

*The difference in playing for academic purposes vs. playing with people.
*What the audition process is like for a major touring band.
*Making sure to learn songs note for note when auditioning for a tour and being prepared.
*the touring band usually knows who they want to audition to be in the band.
*looking the part.
*Touring with country artist Ashley McBryde.
*Playing late night talk shows. 
*Self editing.
*The differences in opening for an artist and headlining your own show.
*Tricks for playing in dark venues.
*In ears vs. wedge monitors
*Do your homework.
*Where you spend your time networking is hopefully where you end up working.
*Have a clear picture of what you want to do.
*Be open to learning.
*Pay scale for playing on different tours.
*being the star of an Eric Church music video –


Christian Sancho is a professional touring bass player. Originally from Milwaukee WI, Christian has worked with country acts such as Hailey Whitters, Maddie and Tae and Ashley McBryde. He grew up playing in church and came to Nashville to study at Belmont University. He has toured ever since with cover bands as well as working with various churches until 2017 when he started touring with country artist Ashley McBryde full time. 

Season 2 – Episode 13: Michael Sloan – Growing Your Audience on Spotify


This week I am talking with digital strategist Michael Sloane who works musicians, management, labels, and entertainment brands, building successful and profitable relationships. His company Streaming Promotions helps grow audiences for artists on Streaming playlists. We are talking about how to connect with streaming services and get your music in front of the people who can get you in front of an expanding audience. And we talk about coming up with a strategy to reach your audience and demographic.

Sponsors: Edenbrooke Productions – We offer consulting services and are offering listeners a 1-hour introductory special. To request more info on consulting services, email Marty at 

In this episode we talk about:

*Streaming Promotions which helps grow audiences for artists on Streaming playlists.
*Make sure your artist profile is up to date on Spotify.
*connecting with over 3000 curators to get your songs on playlists.
*Matching music to appropriate playlists.
*Networking and building relationships with people in the industry.
*Find out who works behind the scenes and make connections.
*Be solution driven.
*Project management for Zac Brown Band and Taylor Swift in the digital market.
*Social media marketing.
*The importance of being a great hang.
*What the audience wants.
*What demographic are you trying to reach?
*What is your strategy to reach your audience?
*How are you telling your story?
contact  –


Michael Sloane is an executive leader and digital strategist with a proven ability to develop and increase revenues while building a loyal consumer base in the ever-changing digital space. 
 As a digital strategist he has worked with Musicians, Management, Labels, and Entertainment brands, building successful and profitable relationships.
 After pursuing a finance degree from the University of Kentucky, and an MBA in Music Business and Negotiation from Belmont University, he cut his teeth in entertainment with echomusic (later acquired by Ticketmaster) and later Live Nation Artists.  In these roles he saw the digital revolution unfold for artist such as The Rolling Stones, Kanye West, John Mayer, Zac Brown Band, Keith Urban, Mariah Carey, and Brooks & Dunn, among many others.
 He later focused on digital strategy and ecommerce optimization with Taylor Swift (13 Management) followed by a jump to a record label, as Director of Digital Marketing for Big Machine Label Group (Taylor Swift, Florida Georgia Line, Tim McGraw, etc.)  He is currently the owner and CEO of Streaming Promotions, focused on growing audience for artists on Spotify.  While also acting as VP of Operations for Wonderful Union specializing in fan club and VIP ticketing.   Over the last 8 years he has acted as an adjunct professor at Belmont University teaching digital strategy and marketing.
 Through the management of software development, client management, ecommerce optimization and digital strategy, Sloane has been able to build and grow the digital footprint of some of the largest entertainment brands in the world. 

Season 2 – Episode 12: Kristina Benson – The Four Word Secret To The Music Industry


This week I am talking with my friend Kristina Benson of the sync licensing agency Sweet On Top who I have the privilege of writing for. We are talking about what she does as a sync agent, what it takes to start your own sync agency and making sure you understand how the business works before you reach out to get an agent.

Sponsors: Edenbrooke Productions – We offer consulting services and are offering listeners a 1-hour introductory special. To request more info on consulting services, email Marty at

In this episode we talk about:

*The Four word secret to the music industry.
*Right place, right time.
*Recommending not going into music journalism.  Go into PR and do similar work.
*How and why she started her own company.
*Seeking out and negotiating opportunities for artists to license their music for placement in audio/visual media and the details of doing that.
*Keeping in contact with your agent every 3-4 months to see how things are going and ask if there is anything they need specifically.
*DO NOT ask your agent if there is any feedback from music supervisors. They don’t give it.
*How pay rates work on Netflix and Facebook shows.
*Sweet On Top is looking for any music that is produced well and easily cleared.
*Sweet On Top needs happy songs about “home” or “time passing.”
*What you need to know to start your own sync licensing agency.
*Signing with an agent as an artist and making sure you educate yourself about sync music and how the business works.

Sweet on Top was founded by Kristina Benson, a lifelong music professional who began her career with a degree in opera from UCI and piano lessons in her spare time under Miles Davis sideman Kei Akagi. After stints as a promoter and DJ, she segued into a role as a branding specialist for DoStuffMedia, where she spearheaded engagement initiatives for brands such as Goose Island, Grey Goose and Pabst Blue Ribbon, working closely with local influencers produce interactive brand experiences. She went from there to acting as Music Director for Lip Sync, where she managed all day to day operations, including creative pitches, clearance, and custom music, working closely with top flight talent such as the Violent Femmes, Charles Bradley, Lindsey Stirling, Hanni el Khatib, and Steve Aoki.
Custom music she has produced (and written!) in her role as Director were successfully integrated in national campaigns for brands including Coach and Bridgestone Tires, and placed on primetime shows such as Pitch, Orphan Black, and Bones.  She also was directly involved in placing music in national campaigns with brands like Bulova, Michael Kors, Acura, and on shows that include  Vampire Diaries, Sneaky Pete, the Blacklist, Riverdale, Cameron Crowe’s Roadies, and more. After many successful placements and two wonderful years at Lip Sync, she decided the time had come to start her own agency, and she uses her years of experience in the industry to find the perfect song for any project.

Season 2 – Episode 11: Matt Menefee – You Have To Be In The Scene To Be Seen


This week I’m talking with banjo picker extraordinare Matt Menefee who has worked with Ricky Skaggs, Mumford and Sons and Bruce Hornsby as well as other artists from all genres of music.  We discuss the importance of being around the people you want to work with and making your presence known. Plus, how the internet can be your best tool as an indie artist or musician.

Show Notes:

Sponsors: Edenbrooke Productions – We offer consulting services and are offering listeners a 1-hour introductory special. To request more info on consulting services, email Marty at 

In this episode we talk about:

*Working with Ricky Skaggs, Dan Auerbach of The Black Keys, Meatloaf, Big and Rich,  Bruce Hornsby, Mumford and Sons, Steven Curtis Chapman and more.
*Go to industry parties, etc. and meet people that are plugged in. That is how you get work.
*You have to be in the scene to be seen.
*The internet is your biggest and best tool. 
*Procure as much of as a presence as you can.  
*If you’re going to live somewhere else you need to focus on content for the internet.
*Attending jam sessions and writer’s rounds, etc is the best way to plugged in.
*Learn to record music and get around in a DAW if you want to keep up with everyone else.
*Be present in the moment.
* Contact Matt at

Matt is one of the freshest and most interesting voices on any instrument I’ve heard in a long time. What a blast listening to him and playing music together. – Warren Haynes, The Allman Brothers Band, Gov’t Mule Matt,

TheBanjoPlayer’s name might be simple but the music of the man that wears the moniker is anything but. Rare is the musician that possesses such a strange ability to blend and intersect the complicated nuances of the head with the passionate sways of the heart. And somehow incorporate them with subtlety and power. Transforming an age old instrument into something more like a five string version of Doc Brown’s time-traveling Delorean. Seamlessly dancing back and forth between traditional sounds and future-seeking modern motifs. Lauded by Grammy award-winning banjo player Winston Marshall of Mumford and Sons as his ‘‘biggest inspiration on the banjo’“, MATT’s other-worldly banjo playing has received praise from all corners of the musical universe. 

His unique approach to the 5-string has led him to record and perform with such luminaries as Béla Fleck, Dan Auerbach of The Black Keys, Ricky Skaggs, Jerry Douglas, and Mumford And Sons; just to name a few.  

First introduced to the banjo through his grandpas love for bluegrass music, Matt connected quickly with the instrument. And at 17 his coming out party included winning the prestigious Winfield National Banjo Championship. From there he co-founded two  critically acclaimed bluegrass-acoustic super groups Cadillac Sky and Chess Boxer and circled the planet with his banjo in hand.  Around the same time that Matt was studying the works of Earl Scruggs and Béla Fleck, Matt was also falling in love with the music in video games. Before long Shuckin’ the Corn was cross breeding with Sonic the Hedgehog and in 2018 he decided to combine his most powerful musical influences – video game music and bluegrass – and recorded a record under the name The Hit Points of which Higher Plain Music called The Hit Points debut the ‘Biggest surprise of 2018 to date’ and Gamasutra recognized that The Hit Points gave listeners ‘the album they never knew they needed’.  As put it, ‘Clark Kent climbs into a phone booth and transforms into The Man of Steel, Matt Menefee climbs into a banjo case and becomes MATT, TheBanjoPlayer.’  Whether it’s carving out sonic spaces within genres as diverse as hip hop, rock, EDM, Jazz, or classical music, or colluding with former C-Sky bandmate Bryan Simpson to create the Alt-bluegrass sounds of The Golden Age or continuing to integrate the compositions of video games with the sounds of bluegrass, MATT, TheBanjoPlayer is just beginning to come into his own. Whether it’s as MATT, TheBanjoPlayer or MATT, TheBanjoPlayer Plays Video Games he is changing the colors and sounds that have for so long ear-marked the banjo. Be on the lookout for MATT, TheBanjoPlayer.

Matt is technically one of the best musicians I have ever worked with. Yes, he is very gifted, but also he works non-stop at his craft. – John Cowan, founding member of New Grass Revival