Parkite will participate in inaugural Utah Music Festival
Jody Whitesides will perform and give workshop
- I Hear Sirens
- Stephanie Mabey
- Coral Bones
- Burnell Washburn
- Jody Whitesides
- Scenic Byway
- Advent Horizon
- Perish Lane
- Festive People
- Crook & The Bluff
- Tony Holiday & the Velvetones
- House of Lewis
- Secret Abilities
- Dine Krew
- Motion Coaster
- Grits Green
- The Signal Sound
- Barbaloot Suitz
- Ginger & The Gents
- Andrew Wiscombe
- John Louviere
- Opal Hill Drive
- American Hitman
- Missy Lynn
- Vintage Overdrive
- Eighth Day (slc)
- Spirit City
- Matthew and The Hope
- Listen Out Loud
- Grizzly Goat
- The Johnny Utahs
- Melody and the Breakups
- Lost in Bourbon
- Jana Alexander and the Rebels
- The Wednesday People
- Le Voir
- Marshall Aaron
- Martian Cult
The inaugural Utah Music Festival seeks to expand on the concept that music is a universal language.
The four-day celebration of local music and artists will feature concerts and panel discussions scheduled for various venues in Salt Lake Thursday through Saturday, March 2-4.
An array of styles and genres will include blues, rhythm and blues, electronica, folk, country and Americana, hip-hop and rap, metal, pop, rock, punk, jazz, reggae and DJs, to name a few.
Park City singer and songwriter Jody Whitesides will be among the artists who will perform.
Whitesides, known for his singles “Touch” and “Rise Up,” will perform at 9 p.m. on Friday, March 3, at A Bar Named Sue, 3928 S. Highland Drive.
“I’ll play mostly originals and one or two covers,” Whitesides said during an interview with The Park Record.
The originals will include new works such as the aforementioned “Rise Up” and “Touch,” but also include “Thump, Thump, Thump,” “All The Things” and “Til We Meet Again,” a song Whitesides hasn’t released.
“I’ve got a couple of new guys in the band I’ll be playing with,” Whitesides said. “So, it will be interesting to see how it will work out.”
In addition to the performance, Whitesides, who’s songs have been heard on TV shows and commercials, will also give a workshop about music licensing at noon, on Saturday, March 4, at Club 90, 9065 S. Monroe St.
“I want to give people a road map to even get to the point where they can start thinking about licensing music,” Whitesides said. “People get so confused about what they can do.”
A common mistake songwriters make when it comes to licensing is feeling that once they have written a song, everyone should license it and use it.
“The market has become so specialized in terms of what someone needs in a piece of music that unless a song has everything they want, they’ll pass on it,” Whitesides said. “Some people have a hard time with that, but it all goes back to the question of are they writing music that people want to hear and is that piece of music appropriate for whatever situation it is that needs to be licensed?
“For example, if I go to a toy company with a song called ‘Satan Rules,’ the [marketers] will probably avoid the song like the plague, unless the toy is a devil doll,” he said with a laugh. “The same goes for a TV theme. Producers have a specific need. If the song you have isn’t close to what they need, it won’t help them, nor will it help you.”
Whitesides didn’t start thinking about music licensing until well after the release of his fifth album.
“One day, I got a call from a friend who went to music school with me,” he said. “He needed help on a project for the Butterfinger candy bar.”
Whitesides helped with the music and with the voice over.
“The same friend had me help with another song, but after I heard it and told him he couldn’t use the melody because it was the same melody from another popular song at the time,” he said. “So, I helped him write a new song that went on to get licensed and used a couple of hundred times prior to its hard release.”
That got Whitesides into the world of licensing with libraries.
“It taught me how to approach people about deals and I began to think about things in a big way,” he said. “That made sense because I had everything else in terms of album releases and music copyright.
“Unfortunately, some people are putting the cart before the horse, meaning they work to something licensed before they have a real song to offer. Then when they do get licensed, they end up scrambling to get the song done.”
Another thing songwriters need to watch for is fair pay.
“I strongly suggest to never give the music away,” Whitesides said. “The whole concept of doing this for the exposure is total bull. There’s no reason to give the music away unless it’s for a charity and you want to give it away. Someone will make money off the song and it might as well be the musician and songwriter.”
Songwriters also need to be realistic when it comes to the amount of money they expect to receive.
“If you’re Ed Sheeran or Taylor Swift, you can command a giant fee, but if you’re Joe Blow from Kamas, Utah, you might get a few hundred dollars,” Whitesides said. “Just remember that.”
Once a song is licensed, there is still plenty of work songwriters needs to do.
“Hopefully, they are already registered with a performance rights organization (PRO),” Whitesides said.
Examples of PROs are ASCAP, BMI or SEASAC.
“If the song is licensed for a TV show or something like that, the musician needs to make sure their PRO knows what the song is being used for, so it can be on the lookout for any problems,” Whitesides said. “Occasionally I’ll have a song that I’ve done with a co-writer and they tell me the song has been used on different things and I don’t see it on my [rundowns], I have to go to my PRO and tell them what has happened.”
Licensing music has changed the way Whitesides writes some of his songs.
“A lot of time now, if I do music that is not just strictly for me, I think about what the song can be used for,” he said.
The Utah Music Festival will be held Thursday through Saturday, March 2-4. Tickets can be purchased by visiting http://bit.ly/UtahMusicFestTix. For information about Jody Whitesides’ presentation, enter the code WHITESIDES.
“Park City Follies,” the annual musical spoof, will open Friday, April 26, for a nine-show run at the Egyptian Theatre