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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

Interviews · music industry interview

Kamrad Interview for Music2Deal.com – Part 2

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This is the second part of a two-part interview with German singer-songwriter Tim Kamrad, who rose to fame in 2017 with his hit single Changes. Known for his pop-driven hits like I Believe, Feel Alive, and I Hope You End Up Alone (With Me), the 27-year-old took on a new role in 2024 as a coach on The Voice of Germany.

Our expert A&R guru, Richard Rogers, leads the conversation.

Richard Roger: I did think there might be the opportunity there to do both of those. Please both sets of fans.

Kamrad:  I think if you make an album of like 12 singles it gets boring. You need two great ones and maybe 10 okay ones and I think there’s nothing worse than just an okay single. You need a really great pop song or an indie song. Do you know we do a blues song live? It has a long guitar solo. This is really unexpected for people, it has a long guitar solo and people that hear my songs on the radio would not expect that. It’s a really cool moment in the set.

RR: the line ‘I’d rather fall asleep than fall in love’ will I believe (excuse the pun) go down as one of the iconic song lyrics of the 2020s decade. When you were growing up, what were the sort of lyrics and artists that you were really into, those that really inspired you?

K: well, you wouldn’t expect it but in fact, I grew up with the Beatles so the Beatles. That was the first thing that was music for me maybe for like 5, maybe 10 years of me growing up.

RR: through your parents?

K: yeah through my dad. So I know every lyric and every song but as time moved on, I got more into the current pop music, so I feel that someone like Ed Sheeran was an artist that really inspired me to go on stage even if I didn’t have a band and just play. Also to focus more on lyrics because I was not coming from a native speaking context, it’s quite different listening to English music. You rather listen to the things that stick to your head rather than the clever ‘I’d rather fall asleep than fall in love’ line. I feel in Germany most people that know this song on the radio don’t know this line but they know the ‘I believe’ line. But I think this line is one of the main reasons why it got big on TikTok so I think you need the combination of something easy to sing and a deeper meaning.

RR: which is I suppose the same as your latest six track EP whereby you have the latest single ‘Friends’ that includes in the song, the line which is the EP title.

K: yes it’s the same thing. I’ve always loved the album titles where they are actually buried somewhere in the biggest single and you listen to that single and you hear that title in there and you go ‘oh yeah I know so and so’. So you’ve got an EP and the song ‘I Hope You End Up Alone (With Me which was a single and the line that is the album EP title ‘Not Good At Playing Love Songs’ is in that song.

RR: I’m currently writing a book on Taylor Swift.

K: oh really?

RR: yes it’s my 10th book. It’s my third book on A&R. The first was on Depeche Mode and the second one on ABBA. I just wondered what your thoughts were on Taylor Swift the artist, because pop can be described as a dirty word but personally I love it. Everything from growing up in the 80s listening to bands such as Duran Duran, Depeche Mode which really was pop and later a darker pop which they took slightly avant garde. So for you, how do you feel about somebody like Taylor Swift? Have you heard the whole of the new album?

K: I don’t listen to it every day

RR: there are 31 tracks on there

K: it’s a bit too many tracks for me

RR: that’s the problem. It’s a little bit wishy-washy, all a little bit watered down. But there are three tracks towards the end of the album and they just blow the rest away. It’s incredible for me that they leave them so late. Not great A&R in my estimation but it will still sell loads.

RR: do you go to big studios or not or do you record at your studio and then the record company takes it and get it mixed and mastered? How does it work?

K: we’re mixing it at the studio where we are and we send it to a mastering place in New York to a guy called Tutsijo who masters it. He is one of the greatest mastering engineers that I know. He gets our music and he gets our style, I say ‘our’ because it’s the producers and it’s me and we’re working very closely together. Tutsijo really gets the style and he finishes it off really nicely I think and if we’re going to LA to write songs or to London or whatever I always try not to go to studios I always try to be in a living room or something. I feel it seems so relaxed when you’re not forced to be in a room where music is created, better like a bed or a couch and your brainstorming and something comes across. The best songs come unconsciously I mean the sentence ‘I believe I rather fall asleep than fall in love’ was really like a stupid sentence that we said in the room and we thought we can use that. It wasn’t like we booked the biggest studio that we knew and made the biggest beat. That was an unconscious moment and let the unconscious happen and I think that you can do (something special) rather on a couch in a great living room with a cool view rather than in a really expensive studio for two days.

RR: I agree. There’s a place in Italy called Erice, it’s a fantastic place if you just wanna get away in Sicily and write then just get a hotel there, sit there with a guitar or whatever and just write. I really recommend it. I wrote a minor hit and 3 other album tracks in just a week for an artist there once.

K: I love those places. It does something to your mind in a way that you can’t describe to people and I always have to explain to my publisher yeah, like I’m not going to LA on a paid vacation that I have to pay for it’s rather more like getting my head into a different space. Because you know Bochum is nice but it’s not the city that you want to write the biggest summer song in. It makes me want to write a depressed one. Laughs

So if I want to write a happy song, I need to go to a different place. it is brilliant.

RR: what I will say is that your drum patterns are phenomenal.

K: thank you so much.

RR: and I don’t know if it’s you or your producer or it’s you and your producer together but I do think they are excellent. As an A&R man, producer and songwriter, I personally believe that you are the best German artist in the country currently. I’m not saying that to suck up either.

K: Wow, thank you so so much. It is an honour.

Kamrad’s latest EP ‘Wanna Be Friends’ was released in November 2024 and he is currently supporting this release on the ‘Friends Tour’ in Germany, Switzerland and Austria for a number of months from January 2025 with more tours planned going into Winter 2026 across Europe. In addition he is now one of the judges on ‘The Voice Of Germany’.

Richard Rogers new book ‘Taylor Swift – ‘The Tortured Poets Department’ the Ultimate A&R Companion Guide’ will be released in April 2025 with contributions from Kamrad and Midge Ure. It will be available to Music2deal members for a heavily discounted once only price.

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

KAMRAD