Tag: Interview

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

This & That

John O’Neill – Undertones Interview – Part 2

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This is the second of a two part interview with legendary guitarist and songwriter John O’Neill from The Undertones, That Petrol Emotion and trip hop darlings Rare.

The man famous for writing ground breaking hit songs Jimmy Jimmy, Wednesday Week, Julie Ocean, Here Comes The Summer, Big Decision and of course John Peel’s favourite all time song and punk/new wave anthem Teenage Kicks.  

Our expert music industry A&R man Richard Rogers asks the questions.



Richard Rogers: so they put a mural up on a huge wall in Derry of The Undertones recently, what did you think of that?

John O’Neill: that’s fantastic. I was against it at the time.

RR: why?

JON: we thought it would be too noticeable and stuff. But it turned out great. Really great.

RR: as we are in Düsseldorf, it was interesting to find out that Die Toten Hosen, the German group, were massive fans of yours. Are you still in touch with the guys?

JON: yeah they’re coming down tonight to the gig. They are lovely people. Genuinely nice people. We played with them three or four times. Die Artze are the other German band that are big fans of The Undertones too. We play a lot in Berlin and in Germany because our tour manager Barry is married to a girl from Berlin so we are always doing tours here. We played the Market Hall in Hamburg last night and it was brilliant.

RR: you mentioned before we started the interview but there was a possibility of the undertones going back into the studio to record a new album, can you tell us more please?

JON: well we keep saying we’re gonna go in the studio. The thing is, Damian is so prolific he’s already put out a couple of solo records. In fact Damian started up a new band with a couple of guys from That Petrol Emotion called The Everlasting Yeah who released a record four years ago but they just put out a new album which is absolutely fantastic, it’s as good as anything that the Petrols did. Damian can write stuff all the time and I’ve got tons of stuff but I am never that happy that it’s all that great. It seems the older you get it’s harder to write songs.

RR: do you find a lack of inspiration?

JON: well the thing is my daughter came back from London to Derry and she and her husband have the two kids now and they both work, so the grandparents such as me, end up looking after the grandchildren a lot of the time. So I never get time to get into the studio it’s fantastic having the grandkids you know, I don’t know if you’ve got any.

RR: not yet my son is only eight years old. (laughs).

JON: but it’s fantastic having grandkids I love having grandkids. But very exhausting. You’re up 3 times a night sometimes.

RR: so if you wanna blame there being no Undertones records blame the grandkids! Talking about David Bowie which we were earlier, I once licensed a Blondie track onto a Bowie album which had Robert Fripp playing guitar. This was the first time that Blondie’s version of Heroes was ever released on CD format.

JON: well talking about cover versions, Die Toten Hosen did a version of Teenage Kicks and Damian came over to Germany to play the guitar on that song by the group. That was on the Learning English album. Maybe it was recorded in London and all the promotional work and parties were in Germany. Damian is my brother of course and he’s a great guitar player and I’m just a meat and potatoes guy.

RR: but of course you are a fantastic songwriter. In the UK we had this amazing DJ no longer with us called John Peel who I got to know a little bit not much but a little bit when I worked at the BBC in London. The best DJ ever male and female probably Annie Nightingale. John was out on his own and phenomenal and his favourite record of all time was written by John here called Teenage Kicks. John was really God of all DJs. He epitomised the lone DJ out there on his own looking for new songs and new artists.

JON: without John Peel, we wouldn’t have done anything. We recorded the first EP and we were about to break up because there was a lot of tension about, we wanted to make a record so that we could prove that a band from Derry could make a record. And that will do us. But then with John Peel playing it, and finally Seymour Stein (at Sire Records) said I’ve got to sign these guys. So that led to us getting a record deal.

RR: so how did you get on with A&R guys? I mean at one of the companies I worked for I had on my roster as an A&R man, 55 separate songwriters. Okay some of those were with the same band but all in all there are only so many hours in the day and so many days in the year so it’s a hard job that people don’t always appreciate.

JON: well Andy, our manager, kept us away from them most of the time. I remember Positive Touch the third LP for the undertones hadn’t sold that much so the fourth album was Sin of Pride. With each album we made, we tried to make them different which probably wasn’t a very good commercial idea. The A&R guy would come in and get us to write in a commercial way and of course we ignored him.

RR: yes you should ignore them, unless they really have something to say. (laughs).

JON: really, I had no dealings with A&R except a little during the Undertones days.

RR: that’s incredible. I did an interview with Midge Ure last year and he said exactly the same thing. The record company just let Ultravox get on and do their own A&R.

JON: Andy was dealing with all the A&R people for the Undertones and the Petrols. For Rare we had a licensing deal with Pinnacle so there was no A&R there either. The guy at Pinnacle liked it so it was released and we sold about five copies and we did a tour and I can promise you we didn’t sell very many copies because we didn’t have very many people in the gigs which was so dispiriting. Andy managed both groups but to be honest, we didn’t take ourselves too seriously even though he was always trying to make us do more promotional stuff. I think this led to Fergal Sharkey leaving the band. He could see that he could probably do better as a solo artist. As far as people were concerned he was The Undertones.

RR: yet he only had one minor songwriting credit on one song on the entire creative writing output over six albums of The Undertones. Are you still in touch with him at all?

JON: no oh no. We had some horror stories that he was involved in, but we weren’t that surprised. The fact that he was an A&R man just makes us laugh. He had no interest whatsoever in any music, he never did. You can put that in the interview, I don’t care.

RR: moving swiftly on, let’s go back to John Peel.

JON: the year before he died I think, we made a documentary. He came over to Derry. That was the first time we had met him in years and we spent three or four days with him which was fantastic, you know. He also paid for the very first recording session we ever did.

RR: so what do your live gigs entail? Is it all the old stuff or a combination of this? The early stuff you did with Fergal plus the material you’ve done post Fergal?

JON: mostly the original stuff, you know we do all the singles. Then we mix it with various songs from the last two albums, we think there’s some great stuff on those albums. You know, the people want to hear the commercial stuff.

RR: well I really hope the grandkids will allow you to do some songwriting every now and again.

JON: well you know it was my own fault.

RR: Thanks for the honest, open interview John.

JON: Thank you and enjoy tonights show.

Links:
https://music2deal.com/gb/richardrogers