Tag: Interview

music business · Music Directory · Music2Deal.com

4 Top Music Professionals to Connect — December Spotlight

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From publishing and artist management to legal strategy and sonic branding, this edition spotlights four Music2Deal professionals actively shaping the international music business.
Each brings deep expertise, regional insight, and a strong track record of collaboration.

Polina Klim – Publisher Lavina Music Holding | Kyiv, Ukraine

Polina Klim is the CEO of Lavina Music Holding, Ukraine’s first music holding, founded in 2001.
As a publisher and producer, she oversees a vast catalog of more than 25,000 audio and video works, including numerous gold and platinum releases.

Lavina Music Holding operates as a global digital aggregator for music, film, and entertainment content, distributing directly to major platforms such as YouTube, Apple Music, Spotify, and Deezer.
With a strong focus on rights protection and anti-piracy policies, the company became one of the first Ukrainian labels to join the International Federation of the Phonographic Industry (IFPI).

Polina and her team provide comprehensive legal and business support for artists, authors, and rights holders, positioning Lavina Music Holding as a key player in international music licensing.

→ View profile on Music2Deal:
https://music2deal.com/hu/fHCdQmd636UDWxGliPVN9iMGbhQ

Maurizio Clemente – Management & A&R, Ritmo Fulcral Lda | Lisbon, Portugal

With over 20 years of experience in the recording and management business, Maurizio Clemente operates at the intersection of artist development, electronic music, and strategic marketing.

Through Ritmo Fulcral / Key Note Multimedia, he works across management, booking, A&R, label consulting, promotion, and event production, with a strong focus on Dance and House music.
His agency supports artists and DJs with tailored business strategies, combining creative consultancy with commercial planning, licensing, and international distribution.

Maurizio’s approach blends traditional industry know-how with innovative marketing techniques, helping artists establish sustainable careers within both underground and professional markets.

→ View profile on Music2Deal:
https://music2deal.com/pt/RitmoFulcral

Life D. Griffith – Business Services / Legal & Strategy, High End Music Partners (HEMP) | Long Beach, USA

Life D. Griffith is a veteran music industry executive, legal consultant, and entertainment strategist with more than 30 years of experience across nearly every facet of the music business.

His career includes key roles at major labels and organizations, contributing to the success of artists such as Erykah Badu, A Tribe Called Quest, Run DMC, Snoop Dogg, Rakim, and many others.
Collectively, his work has supported projects generating over 100 million record sales and significant global revenue.

Through High End Music Partners (HEMP), Life focuses on legally grounded strategies for artists, labels, and brands — covering contracts, licensing, digital rights, AI governance, and emerging technologies.
His work positions legal infrastructure as a foundation for sustainable innovation in the modern music industry.

→ View profile on Music2Deal:
https://music2deal.com/us/3o0GdgJTJhe20Dy902w–52O71Y

Serene Cheam – Business Services / Musicpreneur, Kuala Lumpur, Malaysia

Serene Cheam is a seasoned musicpreneur with over 20 years of experience in the Malaysian music market, working at the intersection of music creation and corporate branding.

Through Musicpreneur, she provides production, publishing, education, and distribution services, with a strong specialization in sonic branding, jingles, and brand music.
Her portfolio includes collaborations with more than 500 corporate clients, as well as work in film scoring and original soundtracks for television and drama productions.

Serene also acts as a connector between musicians and corporate partners, helping creatives translate their skills into sustainable business opportunities across Southeast Asia.

→ View profile on Music2Deal:
https://music2deal.com/sea/8AltcH17XhLM6wBxUZIsvl_raIE

➡️ Want to grow your network and be featured?
Join Music2Deal — the exclusive business network with 18,000+ proven music professionals from around the world.
Whether you’re an artist, label, publisher, producer, or manager — create your profile, share your music offers, and discover new opportunities.
You could be next in our spotlight.

Interviews · music business · music industry interview · Music2Deal.com

Eurovision: why should songwriters care?

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LeaHy is a songwriter, lyricist, and long-standing Music2Deal member with an international perspective on the music business. Over the years, he has written for acts such as 2 Unlimited and CB Milton and collaborated with various artists across Europe. With his deep knowledge of both the creative and business sides of music, LeaHy brings valuable insights into how songwriters can view opportunities like the Eurovision. In this interview, he shares his personal experience, perspectives, and advice for anyone curious about writing for one of the world’s biggest music stages.

You opened a forum on Music2Deal about the Eurovision. What prompted you?

Like many people my age, I have memories of watching the Eurovision as a family – at the time there were not many channels and so not much choice on TV.

Much later, I wrote for 2 Unlimited, CB Milton and others. So you could also say that I’m not scared of pop. I also submitted songs twice. Both fell at the first hurdle – no regrets. But the only people actually debating Eurovision are the hyperfans; songwriters don’t actually talk about Eurovision much.

That’s why I created the forum on Music2Deal (see below).

Who runs the Eurovision?

The Eurovision is run by the European Broadcasters Union – a body that manages supernational sports and TV events for its members, national TV stations. Any station can join, which explains why Australia, Israel and Turkiye are members and can participate and send in their candidates.

Question from a colleague: Why has Eurovision deteriorated so badly?

It’s worth talking about this. On the one hand, it you turn down the volume of your TV set, Eurovision has never been this good. The staging – and very often the choreographies – are among the best you will see anywhere in the world. Plus, the audience continues to grow.

But then there is the music. And that is more… complex. I wish more broadcasters would remember that it’s the Eurovision SONG contest. There is a very strong temptation for them to aim at the spectacle: larger-than-life singers; fake “catchy” choruses; and lots of flesh. So you get a lot of gimmicky acts. They definitely appeal to the live crowd, but they don’t build careers.

But that leads to another point: more than anything else, the Eurovision is a massive TV event whose job is to get people to turn the TV sets on. Their brief is not to create stars, and don’t forget that many of the performers are technically amateurs.

If you have the patience, there are nonetheless still some great songs and performances each year.

What does it take to write a Eurovision song?

Every year, you can see there are a bunch of people (and broadcasters) that figure it’s easy. Churning out music has never been that hard. Creating a potential hit is hard. My personal favourite of the past few years, “Tattoo” by Loreen (Sweden), had six writers, 30 musicians and one of the best vocalists in Europe. And there is not one note or word too many on the track. That’s your competition if you’re aiming for the top level.

There is much talk of the Eurovision formula. If I knew of one that worked, I’d create an app and sell it! One thing I would say that not many people talk about is that songs that catch people’s attention are often very authentic, for want of a better word. The storytelling aspect is important. This could be a “little guy just there for the laughs” to the sympathy vote for Ukraine or the block voting for Israel last year. If you can convince enough people that it’s important to you, a large number will follow you.

How much money can writers earn with Eurovision?
Let’s imagine that you get as far the semi-finals. By now you have earned a couple of thousand euros for airplay and streams. There’s a strong possibility that you will have spent far more than that on studios, session musicians, a good mix and haircuts 😉. Let’s say that you get to the finals and you get some moderate international airplay and streams. Then you’re looking at between €15-50,000. For top five finalists, think about €50-170,000. For the number one winner that goes on to catch people’s attention (not all of them do), you can start at €175,000 and the sky is the limit. As someone noted in other circumstances, “The winner takes it all”. Bear in mind that you will be sharing this money with the broadcaster and then dividing the rest between your co-writers.

How do I write for Eurovision?

As Eurovision is run by national TV stations, you’ll have to go through their submission process. Many require that all the writers and performers be from their country. Others require at least one person be from that country, while some do not specify any constraints.

Now for the reality check: an amazing 10,000 songs are submitted overall per year. Around 300 will make it to the local finals and some 30 or so will compete in the final finals.

The biggest countries obviously receive the most songs. So if you want to increase your chances mathematically, target smaller countries. But I really do recommend having some sort of local connection, be it a writer or a singer. If you get selected, check the contracts closely. Some will require that the writers and performers cover transport and other costs!

Whatever happens, take it as a learning experience and have fun. If you have a great song that needs lyrics, get in touch.

https://www.music2deal.com/groups/Eurovision

https://a-lyric.com
https://3hatsmusic.com
LeaHy´s Profil on Music2Deal

a&r · music industry interview

Exclusive Talk with Hit Producer Daniel Silveira (Paula Fernandes, Taylor Swift, Shania Twain, Michael Bolton & more)

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Music2Deal: Can you give us a quick intro—who is Daniel Silveira?
Daniel Silveira: “I’m a creative and music professional with a strong background in artist development, A&R, and music and video production. Over the years, I’ve had the opportunity to collaborate with major global brands and internationally renowned artists, directing and producing high-profile projects across the music and entertainment industry. I’ve also led major TV and music events and contributed to soundtracks for iconic Brazilian productions, shaping memorable moments in pop culture. My passion lies in bringing artistic visions to life and creating impactful experiences for audiences worldwide.”

Music2Deal: Have you done international licensing or signed artists abroad? And in your opinion, which country offers the best opportunities for licensing music, and why?
Daniel Silveira: “Yes, I’ve had the opportunity to license music and work with artists on an international scale, collaborating with major global brands and industry leaders. Throughout my career, I’ve facilitated international deals and expanded the reach of artists beyond their home markets. In terms of the best country to license music to, it depends on the genre and audience. The U.S., Brazil, and the U.K. are strong markets due to their global influence and streaming dominance, while Latin America and Europe offer great opportunities for artists with culturally resonant sounds. Ultimately, the right market is where the music connects most authentically with its audience.”

Music2Deal: What are some of the standout projects you’ve worked on?
Daniel Silveira: “Throughout my career, I have had the privilege of directing and producing high-profile projects featuring world-class artists alongside Brazilian and Latin talents. These collaborations include Taylor Swift, Shania Twain, Michael Bolton, Frank Sinatra with Paula Fernandes, Enrique Iglesias with Luan Santana, Ivete Sangalo with Shakira, Alejandro Sanz, and Nelly Furtado, as well as Akon with Negra Li. I have also worked on audiovisual projects with Caetano Veloso, Jorge Benjor, Zeca Pagodinho, Kid Abelha, among many others. I’ve also spearheaded major television and music events like The Voice Brazil, MTV Studio Coca-Cola, Luau MTV, and Skol Beats Festival, helping shape some of the most iconic moments in live entertainment. Additionally, I’ve produced soundtracks for legendary Brazilian TV series and films, including Hilda Furacão, Kubanacan, and Senhora do Destino, which have left a lasting mark on pop culture. These projects stand out not only for their scale and influence but also for the way they seamlessly brought together music, artists, and media in a meaningful and powerful way.”

Photo with Shania, Danile and his team

Music2Deal: What exciting things are you currently working on?
Daniel Silveira: “I am currently in Portugal, working on personal artistic projects and engaging with European music producers, as well as film, animation, and game producers, to develop innovative projects in these fields. My goal is to reconnect with my roots and create original music for the film industry, which is currently thriving due to the growth of video streaming platforms.”

Music2Deal: In your view, what’s the biggest challenge in today’s music industry—and how can it be tackled?
Daniel Silveira: “One of the biggest challenges facing the music industry today is fair compensation for artists in the streaming era. While digital platforms have revolutionized access to music, they often fail to provide sustainable revenue for creators. To address this, we need a more balanced economic model—one that ensures artists receive fairer royalties, encourages direct fan engagement, and explores alternative monetization strategies such as sync licensing, exclusive content, and partnerships with film, gaming, and other media industries. By fostering innovation and advocating for better revenue distribution, we can create a more sustainable future for artists and the industry as a whole.”

Music2Deal: What’s on your radar for the coming year?
Daniel Silveira: “Next year, my focus is on expanding my work in original music production. I plan to deepen my collaborations with European producers and creators, developing new projects that blend music with visual storytelling. Additionally, I want to leverage my experience in artist development and A&R to work on new cross-market opportunities, bridging Latin, European, and global audiences. With the continued growth of streaming platforms, I see a great opportunity to contribute to high-quality soundtracks and audiovisual productions that leave a lasting impact.”

Daniel with Luan Santana recording Bailando with Enrique Iglesias in Cuba

Music2Deal: What’s your take on Music2Deal.com?
Daniel Silveira: “Music2Deal is an exceptional platform that bridges the gap between artists, musicians, and industry professionals, creating valuable opportunities for collaboration and growth. In today’s dynamic music industry, where partnerships can be developed both remotely and in person, having a dedicated space to connect, network, and exchange opportunities is more important than ever. Music2Deal not only facilitates these connections but also helps expand horizons, opening doors to new markets and creative collaborations worldwide.”

Daniel Silveira on Music2Deal: https://music2deal.com/br/danielsilveiramusica