Press

Ready to tour California? We've added a brand new feature to our site that we're pretty excited about. Now you can search venues and contact them directly through Muzaic. No need to wait for the gig availabilities to be posted! Just select the venues you want, and specify your available dates. That's it! We'll send them the highlights from your profile, and a link to your Muzaic profile. Do this regularly, and get your shows scheduled months in advance. To kick things off, we've got over 200 venues and College campuses in California that you can reach out to now! As we add more venues, we'll let you know so you can expand your fan base into new territories. Couldn't be simpler. And couldn't be free-er! Check out our Venues Search page to get started.
Win $50k in prizes including distribution deal with Wright Records/ Sony Music Entertainment /The Orchard and a West Coast tour. 12 first round shows with up to 100 bands competing. Set times are 20 minutes each between 1pm and 6pm. 30 bands will move to round 2 semi-finals, and 6 bands will compete for the final grand prize. All genres and all ages welcome. No registration Fee. No Minimum Ticket Sales Required, Bands make % of Tickets Sold. If you can't make this one, you can help promote this event and make it a success. Do it for your musician friends. After all, our real competition is Netflix, and not each other. ;) 
You can stop paying for your band website or EPK on other sites right now... Here’s 10 things you can do with your Muzaic profile for FREE... Create a custom URL such as http://muzaicshows.com/Your-Band-Name Get likes and followers on your Facebook, Twitter and Bandsintown accounts Share links to buy tickets for your shows Upload MP3s Link youtube videos Upload photos Upload a Press Kit Share links to your Muzaic page on social and via email with one click Write a bio that talent buyers and promoters will actually read And most importantly, greatly improve your chances of getting a gig by keeping your profile up to date!   Login today and invite the world to see and hear you. Say ‘no’ to having to pay to get gigs. Say ‘yes’ to the way it should be: Free for artists, always!
Let promoters and talent buyers know you’ve got a real social following... Sync your Bandsintown show dates with your Muzaic profile. We’ll automatically add your future and recent shows posted on Bandsintown with your Muzaic calendar, and list them on your profile page! Here’s all you need to do.   1. Login at muzaicshows.com 2. Choose ‘Edit Profile’ from the menu 3. Go to the ‘Edit Profile Information’ tab, and add your Bandsintown name at the bottom of the screen 4. Click the ‘Save’ button   Boom! Now the people who hire talent will know that you’re serious about your career, and working hard to get people out to shows. And while you're at it… share your Muzaic profile page with them! A.B.P. - Always Be Promoting!   Cheers. The Muzaic team muzaicshows.com  
Muzaic has been accepted as a member of The Recording Academy - celebrating artistic excellence through the # GRAMMYs , advocating on behalf of music creators, and preserving music history through its various programs. We’re proud to be part of this distinguished group of music professionals.
  by Catharine Wood Los Angeles, CA In the last few years, especially, I’ve been asked more and more about “what’s it like being a ‘female’ engineer, composer, producer”...and “why aren’t there more of you [women]?”...as if all of a sudden, it’s occurring to people that women exist in these fields. I’ve worked professionally in music for 17 years - with 13 of those as an audio engineer, music producer and composer in Los Angeles. Graduating from audio engineering school in 2005, I’ve grown accustomed to being the only woman in a room of engineers. I graduated #1 in my class (as the only female)... and was cherry-picked for my first professional studio job in Santa Monica — engineering on worldwide advertising campaigns for premier agencies. At the time, iTunes had recently come out and I was the assistant engineer on several of the first iPod commercials...Spotify hadn’t been founded yet — CD sales were declining. I was the only female engineer at the studio - but was always treated with respect by colleagues.   Based on my personal experience and current published numbers, you can find women working professionally in audio engineering at 5%, music producing 2%, composing 2% and DJ’ing 1%. However, I believe 2018 is the year that the pendulum will shift from asking us “WHY aren’t there more of you” to “WHAT can I hire you to do for my project”...The cat’s out of the bag. I love that the discussion is finally happening - but the only way to incorporate us into the greater fabric of the industry is to hire us...but to hire us — you need to know we exist...and for many prospective female engineers, composers and producers - with the slim percentages displayed above, they may not know their field of interest is even a career option. With physical CDs (and, therefore, liner notes) disappearing from the way listeners consume music - especially in the last 10 years with the succession of Streaming as the main method of listening now - most of us “behind the scenes” contributors have largely become invisible to consumers. Hopefully with streaming services beginning to add digital credit fields this will change.   In addition to being a voting member of the Recording Academy, I am a proud Grammy Producers & Engineers Wing member. Comprised of 6000+ of the recording industry’s top music makers, I gained membership through my professional work as an Engineer. I would speculate that of those 6000+ members, based on the 5% factor, there may only be around 300 female engineer members. In January of this year, I was honored to attend the 60th Grammy Awards at Madison Square Garden in New York City — and witnessed Janelle Monáe's cogent and inspiring “Time’s Up” speech in-person:   “Tonight, I am proud to stand in solidarity as not just an artist, but a young woman with my fellow sisters in this room who make up the music industry: artists, writers, assistants, publicists, CEOs, producers, engineers, and women from all sectors of the business. We are also daughters, wives, mothers, sisters, and human beings. We come in peace, but we mean business. And to those who would dare try and silence us, we offer you two words: Time's Up. We say Time's Up for pay inequality, Time's Up for discrimination, Time's Up for harassment of any kind, and Time's Up for the abuse of power. Because you see, it’s not just going on in Hollywood, it’s not just going on in Washington, it's right here in our industry as well. And just as we have the power to shape culture, we also have the power to undo the culture that does not serve us well. So, let's work together, women and men, as a united music industry committed to creating more safe work environments, equal pay, and access for all women.”   And, ironically that same day, Neil Portnow, the President and CEO of the Recording Academy, inadvertently made his ill-fated “step up” comments when asked by Variety about only ONE solo female artist winning a Grammy during the CBS telecast show (Alessia Cara for Best New Artist...all other televised winners that night were male except Little Big Town’s Karen Fairchild & Kimberly Schlapman for Best Country Duo/Group Performance...and Rihanna for her work with Kendrick Lamar on “Loyalty” in the Best Rap/Sung Performance category): “It has to begin with... women who have the creativity in their hearts and souls, who want to be musicians, who want to be engineers, producers, and want to be part of the industry on the executive level... [They need] to step up because I think they would be welcome. I don’t have personal experience of those kinds of brick walls that you face but I think it’s upon us — us as an industry — to make the welcome mat very obvious, breeding opportunities for all people who want to be creative and paying it forward and creating that next generation of artists.”   And there we have it; perhaps the most perfectly naive snapshot of where our American culture, unfortunately, currently is when it comes to a perception of females in the music industry. Meant to be supportive but insulting in actuality...as we’ve (as women in music) been “stepping up” for years...decades...and centuries (in the minuscule percentiles)...with, in the engineering-related fields especially, few survivors making it to gainful employment to sustain a full-time career. Why is that? I’ll get to that in a minute.   On January 18, 2018, Billboard published an article asking “Where Are All Of The Female Producers?“...to which Ari Herstand answered with a published list of 150+ “Female Producers You Need To Know” (which I’m proud to be included on alongside Björk, Wendy & Lisa, Linda Perry, Sylvia Massy, and many more). In the Billboard article it states: “...nowhere has that notion been reinforced more than in the Grammy category for Producer of the Year, Non- Classical. Since the trophy was first handed out in 1975, no woman has taken home the golden gramophone. Just a handful of women -- including Janet Jackson, Paula Cole, Sheryl Crow, Lauryn Hill, Mariah Carey, and Lisa Coleman and Wendy Melvoin from Prince's band The Revolution -- have been nominated for producing their own music. Only one nominated female producer was not also the recording artist: The Matrix's Lauren Christy in 2004. (The situation is less bleak for producer of the year, classical: Three women have won in that category, including quadruple-winner Judith Sherman. Imogen Heap and Trina Shoemaker have earned Grammys for best engineered album, non-classical.).”   Given the statistics, recent public comments and generally discontented state of the #GrammysSoMale aka “boy’s club” music industry...the Recording Academy has implemented a task force in the Spring of 2018 led by Tina Tchen — Focused on female inclusion and diversity issues, the task force will be charged with identifying "the various barriers and unconscious biases faced by underrepresented communities throughout the music industry and, specifically, across Recording Academy operations and policies,”...looking at governance, hiring and promotion practices, membership, awards and the Grammys telecast, the Recording Academy said in a statement to Billboard. I believe this is a good step forward - and have seen other similar initiatives popping up at various film studios - including the recent co-piloted Universal-DreamWorks Animation “Inclusive Film Composer Initiative”.   One major factor that I’ve observed as a successful navigator in my chosen fields (Engineering, Producing, Composing): it’s very, very competitive. And you’ve probably heard this elsewhere, but as a woman in today’s music industry, you can’t just be good at your craft to establish your name...You have to be outstanding in every corner of the industry you choose to associate your name with. Networking is mandatory - as is developing respected, long-standing and positive business practices that show a reliable and trusted track record. When your entire income is made behind the scenes, in a referrals-based industry, your name and credits must speak well for you to continue employment. Speaking for myself - though I see it in many of my colleagues (both male and female) - you get into commercial music because it’s something you’re passionate about. You love sounds, music, creating and solutions. Flexibility, perseverance and positivity are keys to success in these fields — and teamwork...because most projects involve several creatives.   So why aren’t there more of us thriving in these male-saturated fields? I had a recent discussion with an old high school friend — who went on to gain her doctorate in Astrophysics — is a leading scholar on black holes — and teaches at university. We debated why there are so few women in STEM fields. We agreed that everyone’s brain power is the same and there is no reason whatsoever that a woman shouldn’t be able to do the same job as a man. I added that there is a social element, at least to my chosen industry, which adds a “boy’s club” X factor which has nothing to do with one’s mental capabilities - but would categorize it as a sort of “social intelligence”. To navigate an industry like the music industry - one must have a “thick skin” and a certain amount of social know-how.   Having grown up a tomboy with a close brother and majority male friends before age 13, I was the only girl playing football with the guys at recess...and hockey...and baseball...the list goes on. Choosing a male-dominated field was a natural, comfortable choice for me - but I realize my experience is far from usual. Communication is critical in any profession - and I’ve never perceived men as different from me in ability, creativity or intelligence. Everybody has their strengths and weaknesses - but I’ve never attributed it to gender. I love working with talented individuals.   In this industry, respect is key and earned by demonstrating one’s abilities. It can be hard- earned for a woman (or any minority, for that matter) — but, in my experience, it is the key factor in advancement. That and learning to communicate directly. My advice to women trying to break in? Be yourself, be fearless and passionate about the things you’re good at and don’t rely on having an example to lead the way. The legitimate perspective of “you can’t be what you can’t see” definitely holds water in this case...but I’ve always been a firm believer in the Abe Lincoln approach: “The best way to predict your future is to create it”. Don’t wait. Don’t ask permission. Just do it. It never occurred to me that I wouldn’t evolve into a successful player in my chosen fields. I expected it of myself and I work every day towards achieving the goals I set for myself.   I, personally, look forward to the day when the impulse to include gender as a title modifier is no longer “current”; to be defined by gender because of "rarity" instead of skill — this, in my opinion, is the societal hole that I believe we should be trying to dig ourselves out of. However, I fully appreciate that there are many of us out there who prefer to be defined and celebrated as a woman in the field — that equality and equal opportunity should be the goal regardless of how female you are...Or how you define your professional skills as a woman. I celebrate us all — because there is no one way to achieve this common goal of equality in music. If you’re a woman looking to get into this field and looking for a strong woman to look up to - hit me up. My door’s always open: info@planetwoodstudios.com — I’ll be happy to point you in a helpful direction as there are many resources available to you.     Catharine Wood Twitter & Instagram @planetwood5163 [Photos Credit: Rodney Chonia]
Want something more than a fraction of a penny for your song streams? Get your recording or music video heard by supervisors, music libraries, labels, producers, directors, filmmakers and others looking for fresh, new music. The  Hollywood Music In Media Awards™ (HMMA)  recognizes and honors the music of visual mediums (film, TV, movie trailers, video games, commercials, etc.), and the talented individuals responsible for creating, producing and placing it and the music of artists, both mainstream and independent, from around the globe. What are the Benefits for Music Artists? By just submitting, your music will be heard and evaluated by the industry professionals that make up the HMMA Selections Committee. This means you’re already reaching the individuals you may be seeking to hear your music. Additionally, your music may be selected for the HMMA monthly sampler that is accessible by industry professionals in the HMMA network, including music supervisors, music libraries, labels, producers, directors, filmmakers and others looking for fresh, new music. How is the HMMA different? The HMMA was created to equally recognize mainstream and independent music artists and composers worldwide for original recorded compositions. The HMMA does not select nominees or winners based on record label affiliation, sales, radio play, box office or popularity.   And here’s the best part… As a registered artist on Muzaic, you’ll get an exclusive discount of 33% off your submission cost in both categories: Music Genre and Music in Visual Media.   Register now and don’t miss out on a real opportunity! Good luck! -The Muzaic team
Being a musician can be challenging in terms of setting up gigs with other musicians and finding venues to play at. A startup that offers the ability to find these things for free has been accepted into a virtual incubator run by  TiE SoCal  Labs. TiE is a non-profit global community founded in 1992 by a group of entrepreneurs. TiE SoCal’s HQ are in Cerritos. Muzaic , a booking platform for the live entertainment industry with HQ in Irvine, was founded by Vinay Kathuria (CEO), and Gig Boss, who’s also a promoter at the House of Blues in Anaheim. They’ve bootstrapped the company so far. Muzaic’s mission is to make live shows more profitable for the artist, promoter and venue. To that end, Muzaic strives to make the booking process easier and more efficient with the goal of reducing risks for all parties involved. Kathuria said Muzaic is timely because “more and more live music venues are closing their doors and moving away from live performers.” “Combine that with the rise of services like Netflix, Amazon, and YouTube, and the competition for consumer spending on entertainment becomes even more fierce,” he added. TiE launched the incubator last year to bring together promising early-stage companies and expose them to serial entrepreneurs, high–tech executives, and other professional investors, according to its website. Muzaic is looking forward to investor intros, mentoring and support to “further define our vision, strategy and roadmap,” from the virtual incubator, Kathuria said.  The company has already launched a beta version and hopes to launch nationally soon.  How it Works: The website works like a combination of an employment service, dating app, and Airbnb, matching artists with opportunities and venues, and giving talent buyers and promoters a set of tools to source, hire, and manage bookings online. And, it’s working as well as expected, Kathuria said. He told OC Startups Now that promoters and talent buyers have reported a “huge time savings” in booking shows.  “What used to take two to three days, (can) now be done within a few hours,” he said. “Artists also benefit from getting opportunities better suited to their genre, gig preferences, or type of act, as well as exposure to event organizers who might have otherwise passed them up.” Kathuria is also a performing musician who plays guitar and co-writes music for the band,  Antehero . This band credits progressive rock and alt rock influences. Their live shows are “journeys through sonic moods delivered against a backdrop of short films and psychedelic imagery.” Antehero has opened for touring artists like Wishbone Ash and Which One’s Pink. Antehero is scheduled to perform at the Libbey Bowl in Ojai with Jefferson Starship this summer.  “From our perspective, Muzaic isn’t just a better way of doing something, it’s the start of a movement,” he said. “Our hope is that we can reverse the current trend of venues dropping live entertainment altogether.” Currently, the services provided by Muzaic are offered free–of–charge. Later this year, the company plans to start charging talent buyers and promoters a subscription fee of about $30/month. That will provide access to do bookings – the core feature of the site – plus some premium services, which are in development. For artists, the site will continue to be offered free of charge.   This article originally appeared on OC Startups Now, www.ocstartupsnow.com , on May 30. As subscribers, we have permission to repost this article here…  
Did you know that Promoters and Talent Buyers are 10 times more likely to send you opportunities if your Muzaic profile has music, videos, and the bio of a “working” band? Below are some tips on how to improve your chances of getting a gig. 1. Make your tagline descriptive such as “Hard working, L.A. based, Alt-Metal band, Social media warriors, Battle of the bands winners”. Next to your profile photo, this is what creates the strongest first impression.    2. Live videos beat promotional videos, always. Promoters want to see your stage presence, and how you engage the audience.   3. Sort your music files with your best songs on the top of the list. This will make it the first song played in your profile.   4. You bio is your sales pitch, not a history lesson. List your accomplishments, what makes your band unique, and why someone would want to hire you.   5. Be honest about your draw. You might have 10,000 social media followers, but how many of them will actually show up to your gig?   6. Unless you’re a cover band that can play just about any style of music on request, selecting 3-4 genres is good enough and ensures you get matched with the right opportunities.   7. Keep your schedule as open as possible. Only block out the dates when you’re out of town or when you absolutely can’t play a show.    8. List all and only the Compensation types that you’re open to. Never accepted tips before? Maybe you’ve never asked.   If you think about your Muzaic profile as your professional resume instead of your fan page, you’ll be ahead of the game! And nothing says "professional" more than attention to details.   It's easy! Login to muzaicshows.com, select Edit Profile, and get ‘er done!   Happy Gigging! V.   Vinay Kathuria is the Founder and CEO of Muzaic- a free service for booking talent and getting gigs. website: muzaicshows.com | social: @muzaicshows  
"Thou shalt not steal." Most of us have heard that line forever, maybe even before the first time we five-fingered a Hershey bar from the corner grocery store when we were 8 years old.  And most of the time, based upon my upbringing and personal ethics, I believe it and wholeheartedly endorse it.   Except for when it comes to musicians and gaining fans.   If you're not actively charting a course to steal fans from other bands, then you're doing things the hard (if not impossible) way.  If you're trying to grow a fan base and aren't soliciting gigs with bands that are similar to yours in genre and ability, then you're making it tough on yourself.   Think about what a live music fan is.  It's someone that enjoys and appreciates your music and your show, and will make an effort from time to time to spend a few bucks to see and hear you play... whether live and in person or on your CD's.   I know many of you have booked a gig, only to find out when you arrive that you're a reggae band playing after a death metal band and right before a jazz band... or something f***ed up like that.  And there's a good chance that the first question the promoter or booker asked you when offering you the gig was "What's your draw?".   If you want to really expand your fan base, you have to play gigs with bands that are as close to you in genre and ability as possible, and then out-play and out-entertain your supporting acts to steal fans away from those bands.  It's what I try to do with each and every one of my shows; blend bands together that will make a show, not slam bands together in a showcase format.  Because of that philosophy, I recently had an out-of-town band at one of my HOB shows report to me the following day that they not only sold 40 CD"s at the show, they also completely sold out of t-shirts.   Of course, you're welcome to play shows with mismatched bands, and you might find one or two fans (like me) that can appreciate almost any style of music and will become a follower.  But I guarantee you that if you play shows with similar bands, and put out the highest level show you're capable of, you're much more likely to gain a greater percentage of new fans by 'stealing' fans from the other bands.  And don't forget to work the room, both before and after your set, by talking to people.     One of my favorite methods of capturing new fans is to introduce yourself to a few people that you don't know at a show before you play, and ask those people if they would do you a favor by honestly critiquing your set for you when you've finished.  The immediate returns are: 1.) You've personally introduced yourself and your band to someone that's unfamiliar with you, 2.) You get someone to stay through your set that may have left before or during your performance, and 3.) You've given those people the power to make you a better performer.  If that doesn't gain you a fan, then you need to hock the axe, find a day job, and go back to karaoke nights for your music fix because you're just not a very good musician/entertainer.   Do your groundwork.  Check out other local bands on Reverbnation, Facebook, or wherever you can find them.  Listen to their stuff.  If it's similar to yours, try to get out and see one of their shows to see how they match up with you.  Take a press kit and CD's with you, and if they're a suitable match, introduce yourself to band members after the show and tell them that you'd love to play some gigs with them.  If necessary, be persistent... not pushy... until they capitulate.  Do things smarter, not harder.   And then go steal their fans.   Peace,   -GB    GigBoss is an independent concert promoter in Southern California and co-founder of Muzaic (Muzaicshows.com), a free service for booking talent and getting gigs. website: muzaicshows.com | social: @muzaicshows   Photo by Aaron Mattern