Category Archives: op-ed

The Future of the Music Industry is Decentralized

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Having lived and worked in Nashville for the past eight years, I’ve seen countless artists and aspiring industry types come to town in the hopes of breaking into the “industry machine.” They leave their hometowns, their lives, and their families behind in search of something greater.

For some, it’s a welcome life change that allows them to burn the past, start somewhere fresh, and turn the pain of their old lives into song. Others have it good back home, but feel inclined to go where the industry is, so they can be in the right rooms and meet the right people.

I was the same way — and truthfully, my story fell somewhere in the middle of both camps. I had dealt with quite a bit of loss in the years leading up to my eventual move to Nashville, and I was ready for a change of scenery. At the same time, I had started lean into my premonition that this Lehigh Valley Underground thing had potential to become greater. What better place to do that than the industry town of industry towns (even if it meant we had to rebrand)?

Certainly, the past eight years have taught me an immeasurable amount about the music industry, business in general, and life itself. Basing our operations in Nashville has opened up access to the greater industry — and the rest of the world.

I’ve had a chance to explore much of that world over the past couple years — from global cities to unassuming rural villages, and from festival stages to the backyard. For all the pomp and circumstance around music industry epicenters like Nashville and LA, my travels have taught me that meaningful opportunities and valuable connections are not exclusive to “industry hubs.”

They can happen here, there, and everywhere. All it takes are the right people, the right vision, and enough talent in the surrounding area to add some life to the party.

Of course, I don’t have to look far for an example of this. Let’s start with our hometown.

What if I told you that the largest free, non-gated music festival in the country started in 1984 with a polka tent, a beer truck, and a group of community volunteers — none of whom were “music industry gurus?”

That’s the (highly abbreviated) story of Musikfest, which just celebrated its 43rd year by welcoming 1.26 million people to Bethlehem, PA this summer. People from most U.S. states and a good handful of countries head to the Lehigh Valley every year to take in the ‘Fest-ivities. This massive operation takes over the city, and every year, you’ll find the same core group of people — still including a handful of those volunteers from the first ‘Fest in 1984 — building upon the previous year’s festival, and dialing things in to make them just a little bit better each time out.

Not only does this ensure a first-class experience for musicians, vendors, volunteers, staff, and patrons alike; it also reinforces the culture of Musikfest itself. No matter how big the festival becomes, Musikfest remains a celebration created for the community, by the community.

Speaking of community-led festivals that continue re-inventing themselves, year over year…

A couple years ago, I found a message in UMC’s Instagram message requests from Gussapolooza Music Festival. In a day and age where I don’t typically read message requests — no, your friend doesn’t think we’re cute. We’re an independent music outlet, and you’re a bot — I read this one.

I loved the sound of what they were doing by creating an all-independent music festival on the outskirts of Greater Toronto. Plus, I already had a soft spot for Canadian music — my favorite band, Our Lady Peace, is one of the heavyweights of Canadian rock. I realized that the 2024 edition of the festival was coming up, and this message had been quietly camped out there for about a month a half. I didn’t want to miss the boat any further, so I reached back.

The next thing I knew, Gussapolooza co-founder Russ Robson and I were on a call. We discussed a shared vision for empowering independent artists not only through performance opportunities, but organic networking and education. Russ invited me to come see the festival for myself. I offered to deliver my ‘Building Your Authentic Artist Brand’ seminar and take some photos and video throughout the weekend.

I went up to the festival that September, having met exactly zero of these people in person. It didn’t take long for me to see shades of Musikfest; an effort that is entirely community driven, provides meaningful professional at-bats for its artists, and gives the surrounding community a reason to come together. I’ve been back every year since, and we’ve stayed in touch and worked together with folks in the Gussapolooza family year-round.

I was inspired to see another example of community during my visits to Cellovision last month here in Nashville. Sarah Clanton and Andy Beckey — who, in their own right, are tremendous musicians and citizens of the ecosystem — have created a three-day festival with two stages, “branching” off from the year-round house concerts they host under the Cellotree Arts Presents banner. Dozens of artists came by to perform, hang out, and jam — some from Nashville, and others from places like Denver, Atlanta, Austin, and more.

For some, Cellovision has become an important date on the calendar every year. The connections fostered at Cellovision branch far from the Cellotree, resulting in collaborations that power independent artists’ careers. (In fact, our friends Cast Iron Shoes released and premiered a song written at last year’s Cellovision during their set at this year’s Cellovision!)

As for right now? It’s conference season, and two of our favorite boutique conferences take place every October. Confluence Carolinas just wrapped up for another successful year in Charlotte, NC, proving once again that the Queen City is much more than a financial center — it is a hub for art, creativity, and business, capable of attracting and supporting talent from around the world.

In a few weeks, we’ll make our way back down to NOLA MusiCon in New Orleans — a city so rich in art, culture, creativity, and soul that it’s impossible to argue otherwise.

Both of those cities may not be the first to come to mind when you hear the words “music industry,” but don’t be fooled. There is creativity blossoming in each one on a daily basis — and, in certain respects, “non-industry” towns give creativity far more room to breathe and take organic shape.

Imagine getting to create somewhere and not having to think, “did I make enough references to trucks ‘n beer for the powers that be to give this song a chance?”

Is there still value in having a stake in an “industry town” like Nashville? Absolutely. That’s where you’ll learn how things operate at large scale, make tons of connections, and learn which parts of the industry are (and are not) helpful to your creative vision. You’ll also find tons of creative people, just like you, who are hungry for more opportunities.

However, music and creativity exist everywhere. For all of technology’s recent pitfalls, we have more tools at our disposal than any time in human history to discover pockets of like-minded, heart-centered creatives (and the professionals who serve them).

Any single environment can start to feel like a merry-go-round after a while. It is in those moments that you must venture beyond the palace walls. Once you do, you’ll find that some of the most exciting stuff — the art that changes culture, and the ideas that shape a better music ecosystem beyond the traditional industry — is happening in places you’d least expect.

It might be an old steel town. It might be a field in the middle of Ontario. It might be a major city. It could even be someone’s backyard. Truthfully, it’s all of the above.

By taking time to build those connections, you will better understand the unique challenges and opportunities of each region, and find common ground on the issues facing artists and creatives industry wide.

Not to mention, you’ll have more friends in more places, and more places to visit, perform, and explore.

Over time, the creative journey becomes about something much greater than finding our way into the industry machine.

The journey becomes about working together to build a better one — no matter where we lay our heads.

Nashville is a Multicultural City (So, why are we still hiding it?)

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On Thursday, Nashville Briefing released their list of 25 Artists to Watch (sponsored by ASCAP).

Certainly, there are many talented artists on the list. I’ve even had the opportunity to catch a few of them live over the years. So, let it be known that what I am about to say is not a reflection on anybody’s talent or dedication to their craft. It ain’t easy out here for any independent artist, and it is not my intention to dismiss their achievements.

However, one glance at the graphic was all it took to notice that all of the featured artists seem to project a certain, *ahem*… image that Nashville has long been accused of favoring. (And I’m saying this as a straight white dude who lifts weights, watches wrestling, and listens to Creed!)

I didn’t want to jump to conclusions. So, I did what any Millennial internet veteran would do…

I went to the comment section to see if I was the only one to notice.

Once there, I could see that I wasn’t alone. Many observers pointed to a stunning lack of diversity on this year’s list, leaving an array of comments like these…

“Definitely lacking the diversity of the true Music City”

“Y’all couldn’t find any POC??”

“No kind of diversity. Doesn’t even surprise me at all”

“Couldn’t even fake a little inclusivity 😂😭 genuinely sad. No shade to the winners themselves”

See the post for yourself, and draw your own conclusions. Then, meet me after the jump…

I’ve lived in Nashville for nearly 8 years. I’ve explored every corner of this city, many times over. There are as many cultures and perspectives here as almost any other major city in the United States. If there is a genre of music (or art) you love, you can find it here.

The major gripe I have about this city – aside from our steadily-worsening traffic and infrastructure issues – is that those voices are silenced when Nashville bourgeoisie project their desired image of our city to the world. Rarely do tourists come to town with any knowledge of historic Jefferson Street, or the fact that it was the Fisk Jubilee singers – and not country music itself – that earned Nashville the nickname “Music City” when they performed for Queen Victoria on an 1873 tour of Great Britain.

East Nashville – the eclectic creative hub where I proudly reside – is merely reduced to a “cute” neighborhood which exists to give tourists a break from the madness of Lower Broadway. Meanwhile, so much art, culture, and local business flies under the radar, while those same tourists flock back across the Cumberland River to feed the machine after sunset.

Shoot. I’ll do you one better…

I was in the pit taking photos during Nashville’s Big Bash on New Year’s Eve 2023. The ‘50 Years of Nashville Hip Hop’ portion of the celebration – a prime opportunity to show the world that we are more than just trucks ‘n beer – wasn’t even included on the live CBS broadcast. And, to make matters worse, a guest DJ set that could have been a career-defining opportunity for an up-and-coming local artist was instead granted to… then-newly-elected mayor Freddie O’Connell?!

(Seriously, though. Stick to fixing the roads, Freddie. Our tires will thank you.)

We have brilliant performances happening all over this city, spanning rock, pop, hip hop, soul, R&B, jazz, blues, and more. Musicians of any genre, location, or discipline are told that, if they want to make it big in the industry, they need to do it here. Countless artists have left their old lives behind – missing birthdays, weddings, and even funerals back home – in pursuit of that dream… only to find that, when push comes to shove, meaningful opportunities have become limited for anyone unwilling to put on their best cowboy cosplay and join the party.

It’s a shame, too, because that diversity – and the art it inspires – has created so many beautiful pockets of community throughout Nashville. Those pockets define what it truly means to be a Nashvillian, and they deserve a chance to shine.

I’m not arguing that country music does not have its place in our city’s history and culture. It most certainly does. However, I will argue all day that it has been whitewashed and commercialized beyond recognition, and the resulting caricature robs locals and tourists alike of the opportunity to embrace all that Nashville is and could be, underneath the glittery veneer of neon lights, cowboy boots, and pedal taverns.

If Nashville envisions itself growing into a global city – one which sees music as essential to its identity – it absolutely must do more to promote itself as a place of character and inclusion. Renowned melting pots like New York, Toronto, and London remain creative epicenters for their respective abilities to build bridges between cultures and perspectives. Creatives from all over the world – and of any discipline – flock to these cities. A lot of times, they stay there, because those cities never stop offering something new. Those places certainly experience their ups and downs, but they always seem to persevere – because when the going gets tough, the people dig deep and remember that they’re a part of something special.

We can do that, too. And, since we’re “Music City,” how about those of us within the greater music ecosystem take the lead? Let’s work to uplift independent artists and champion their stories – regardless of where they’ve originated, or what genre of music they make.

For so long, Nashville artists have been expected by the establishment to fit a certain “mold” if they ever want to succeed here.

For the good of Nashville and everyone in it, it’s time to break the mold.

Artist Advocacy: An Essential Part of Artist Development

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If you’re in artist development, advocacy is part of your job description.

We need more people on the “business” side of the music business who will stand up for artists as they navigate a challenging, ever-evolving landscape. It is our duty to make sure that artists’ best interests are properly represented, and that we are developing artists in a way that empowers them to build sustainable creative businesses – in terms of dollars and cents, as well as ethics and values.

This means giving artists a seat at the table by bringing them to industry events, including conferences and festivals. There, they can learn, perform, and build relationships with real  human beings, planting seeds for future collaborations and opportunities.

There is so much that can be done at the local level, as well. Opportunities to perform, connect, and collaborate are all around us – and meaningful opportunities are more likely to come when we function together as a community, instead of as individuals. This is why we must work to uncover what is important to the artist – not only as a creative, but as a human being. This is what will point each artist’s compass toward a truer north, as they move into alignment with the people, organizations, and causes that resonate with who they are (and which often inspire them to create art in the first place).

True artist development means arming artists (and the creative teams who serve them) with the business knowledge necessary to build their ecosystems – and teaching them business skills that would help them flourish in any industry. There is so much more to succeeding as an artist than write-record-release-perform-repeat. Not to mention, hedging your bets on a piece of content going viral is as viable a growth strategy as hope itself (i.e.; not very). Like all other entrepreneurs, artists need to understand the fundamentals of operating a business entity, and then implement the nuances of their industry. Putting the cart before the horse – or worse, completely ignoring the need for a horse in the first place – leads to stagnation, frustration, burnout, and dreams of what could have been.

While the creative process is important, true artist development is so much more than sticking a bunch of artists and songwriters in a room to “cook up” until they write a hit. It is our responsibility to teach artists that there are so many ways to build a life and career you are proud of. We have more tools than ever to choose our own adventures in this industry, based on our goals and the lives we wish to lead.

There’s nothing wrong with getting placements and signing to a label… if that’s what you want.

If that isn’t what you want? Good news – it isn’t the only way forward.

As artist developers, it is our responsibility to help artists construct their careers and lives, on their terms. We must do this instead of forcing their creativity into a box, or using their platform as a vehicle to capitalize on a trend that, most likely, has already peaked by the time we start to “cook up.”

Simply put, artist development means developing the whole artist in a way that aligns with the life and career they want — even if it doesn’t fall in line with current trends or industry agendas. And yes, it is possible.

We must never forget that we are here to serve artists – not the other way around.

Connection over commodification.

Independence over dependence.

Ecosystems over EGOsystems.

Artistry over the algorithm.

The New School of Artist Development

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When we talk about artist development, what do we mean?

I find that there are two schools of thought on what it means to develop artists in the modern music industry. The more common one in mainstream, “traditional” industry circles involves convincing artists to fit a particular image.

Look like this. Sound like that. Work with these producers and this creative team *only*. Get into a writers room and write, write, write until you can’t write anymore. Maybe one of your songs will be placed. Maybe a major artist will decide to record one. Maybe, just maybe, you’ll even get signed to a major (but only if we can get those numbers up). If all goes well, eventually you’ll be able to do whatever you want as an artist – but only after you’ve given us a hit. Or better yet, several.

The inherent flaw to this method of artist development is that it keeps artists in a constant state of chasing. The carrot has been dangled. You must keep in the race to be the one to catch it, and “make it big” before somebody else does. This creates a sense of competition and a mindset of scarcity. If there are only so many opportunities to go around, your artistic vision goes out the window. The focus turns away from creativity, and toward how to make the most commodified, commercially acceptable thing. Don’t bore us. Get to the chorus, and you’ll be a STAR, kid!

All the while, chasing outside of yourself is a recipe for trading your truth for membership. Your raw authenticity is exchanged for the promise of a new day… if only you fit this particular mold, at this particular time. So often, this pulls artists – human beings with real lives and real stories – away from themselves, and into a machine they didn’t sign up to help operate. And, while one of those songs or “viral” moments might bring in short-term fans and collaborators, you’ll have a hard time keeping them there if you haven’t built true connections. Striking gold on a current trend may bring a wave of new attention to you at the moment… but who will be left after the virality fades, and the industry has moved on to the next big thing?

What becomes of your artistry then? Who are you, after listening to somebody else tell you who and what to be?

There is another way to build a career that has been hiding under our noses this entire time.

We have more tools at our disposal than at any time in human history. These tools can empower you to lean into who you are, tell your stories, and build your community – whether fans, collaborators, or partners who align with who you are, what you do, and why you do it.

The best part? Those people will be there, even as the trends change and new viral moments come and go. They’ll continue showing up, supporting and investing in you, because of a genuine connection you’ve built that can weather any viral storm.

To build that kind of creative ecosystem – the kind that endures based on connection, not commodification – you must start from within.

It’s time for a new school of artist development: one that cares about your stories, ideas, and perspectives. The new school of artist development understands that the cookups – the writes, the jams, and the studio sessions – are important, but they’re only the tip of the iceberg of what makes a successful artist. The new school is here to help you uncover the thing that *you* want to build, based on your own unique values, perspectives, and experiences. The new school of artist development helps you use those things to identify your true creative mission, and empowers you to visualize ways to bring it to the world.

The new school of artist development is not interested in gatekeeping. Here, you have access to the resources, connections, education and opportunities to build your platform, on your terms. We teach artists to lean into not only their own creativity, but their own independence as entrepreneurs, providing them with expert insights on how to build a business to support the art.

To all of you “starving artists” out there: what would you create if you weren’t starving?

Let’s create new possibilities together.

BECOME AN UNDERDOG

Leaders Go First.

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Leaders go first.

In any sense, leadership begins with an example. The best leaders are those who are willing to make the first effort. They’re often the first to arrive, and the last to leave. When they communicate expectations, they are willing and able to follow up with a demonstration. True leaders will never ask someone to do something they wouldn’t. Leaders understand the operation and can step in whenever needed… but they know when and what to delegate, and empower those around them to seize opportunities.

True leaders are not threatened by your growth. Instead, they encourage it, because they know that the success of any community rests on their ability to develop prominent, capable, impactful leaders.

Leaders don’t gatekeep; they open doors to new possibilities.

Leaders don’t dictate; they communicate.

Leaders don’t micromanage; they guide.

Leaders listen and encourage healthy discussion, and remain calm and measured when delivering feedback. Leaders hold others *and* themselves accountable to the same standards. In times of conflict, leaders work toward solutions that make all involved parties better.

Leaders build and participate in a community in order to understand its needs, and to determine how they are best equipped to serve those needs. Leaders are not interested in power, but in doing their part as tone-setters to produce impact at the collective and individual levels. To accomplish this, leaders must have good judgment as to when and how to get involved – and sometimes, that means stepping back from the spotlight to let others shine. Leaders don’t need credit for your accomplishments. Seeing you achieve is credit enough, as it signals your emergence from the stable, nurturing environment they have helped produce.

Leadership is not a trait or a title bestowed upon us from somebody else. It’s an intrinsic understanding of the challenges facing our communities, and our ability to produce solutions.

Regardless of title, experience level, or one’s station in life, there is a leader inside each of us.

We find that leader by first getting in touch with our own values, utilizing our experiences and the perspectives gained to inform our idea of a better world. We adopt the consistent actions that align with those values, and make it our mission to address anything standing in the way. From there, our vision takes shape. What does that better world look like? Sound like? Feel like? What impact is brought about by the change we create, and who benefits?

How is that impact bigger than any one individual’s success?

Once we’ve answered that question, it becomes much easier to attract and build alongside our fellow builders. We offer each other support, accountability, and guidance. We approach each other with humility and respect for the unique perspectives, traits, and abilities that each individual possesses. All the while, each individual’s sword is sharpened by the growing sense of community. As we continue leading ourselves to do our part, the example we set inspires those around us to develop the leader within.

Leaders produce more leaders, and leaders grow together.

P.S.: We’re growing our own international community of leaders – artists and creatives alike – as we re-define the music industry. If this piece resonated with you, consider becoming an UnderDog!

7 of Our Favorite Artist Discoveries from Folk Alliance 2026

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Last week, the UnderDogs had the pleasure of returning to New Orleans, where we attended Folk Alliance International for the first time. The four-day conference and festival brings 3,000 of the genre’s leading artists and industry professionals together from around the world for networking, panels, workshops and, of course, showcases.

If you’ve never been to Folk Alliance, let us set the scene. After connecting via conference programming during the day, attendees stayed put at the Sheraton in downtown New Orleans to enjoy multiple levels of official showcases curated by the Folk Alliance braintrust. After those wrap up around 10 p.m., the real fun begins!

Registered attendees are then invited to take the elevator up a few levels, where multiple blocks of hotel rooms have been repurposed as performance venues, hosted into the wee hours by a small army of curators from around the world. With so many musicians in one place, we had a lot of ground to cover — and rest assured, there was no shortage of talent walking those halls!

We were so inspired by the week’s many memorable performances that we compiled a short list of some of our favorite acts from this year’s conference. It was tremendously hard to narrow this list down to just seven amazing artists, but we feel this list gives you a good cross-section of what to expect when you join us in Chicago for Folk Alliance International 2027!

Buddy Red

Although he’s based in Atlanta, Buddy Red showed up to Folk Alliance in true New Orleans fashion, serving up a deliciously timeless gumbo seasoned with blues, rock, funk, and more. Buddy’s live performances not only present him as a versatile songwriter, but as a charismatic frontman whose contagious energy and vast technical ability combine for an experience not to be missed.

Jack Barksdale

At just 18 years old, the Fort Worth-based songsmith showcases advanced songwriting ability and a world awareness well beyond his years. Barksdale’s Dylan-esque stage quips are thoughtfully delivered between songs, and his deft technical skill – combined with inventive prog-folk arrangements – give the folk genre an exciting new star to watch.

Jared Deck

We may be headquartered in the home of country music, but Tulsa can stake its claim as the hometown of the most authentically country artist we’ve witnessed in a long time. Deck – an elected official whose job description entails “listening to the people and telling their stories” – provides earnest anecdotes about everyday life. His powerful baritone voice adds color and weight to every story, painting a picture so vivid that you’d swear you were there as it unfolded.

Ashley Virginia

Above all else, folk music is a vehicle best driven by the unfiltered truth, and Ashley Virginia is not afraid to get behind the wheel. Hailing from North Carolina, Ashley’s inventive lyricism lifts the veil to reveal their most personal thoughts and experiences, while their standout artistic flair commands attention in any room. A true performer, Ashley has a knack for audience connection, offering hope through vulnerability, and activism in the face of injustice.

CAOIMHÍN

Hailing from Dublin, Ireland, CAOIMHÍN’s songwriting maintains its roots in Celtic folk tradition, while his arrangements – rich with danceable grooves and otherworldly ambiance – take his music into a unique stratosphere. Futurist themes open up a world of exciting possibilities to the listener, while this innovative songsmith rips up the rulebooks to usher in a rich New Age of Irish music.

Sina Theil

For a moment, let’s keep our focus on emerging acts from Dublin. In 2015, Sina Theil moved to The Fair City to pursue a career as a musician – even if it meant busking on the streets and earning her way to opportunities. Fast forward more than a decade, and Sina’s diligence, talent, and inspiring presence have helped her find incredible success – including 26 #1 songs on the Irish iTunes charts, and the ability to reach audiences an ocean away.

Sean Ardoin

Bringing things back around to Louisiana, this Lake Charles native comes from a multi-generational family legacy in the world of Creole and Zydeco music. His own spin on the region’s musical traditions has birthed a unique genre he calls “Kreole Rock & Soul,” a fun and familiar sound that simultaneously dismantles genre barriers. This dynamic listening experience is turned up another notch during Ardoin’s spirited live performances, where his larger-than-life presence inspires people from all walks of life to get out of their seats. If you want a performer who will give you his all – and sound great doing it – Sean Ardoin is your guy.

Artists Have Had Enough.

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Artists have had enough.

Artists are ready for change. Artists are ready for action.

Artists are tired of having their voices suppressed by an algorithm. By a gatekeeper. By a tech company and its “robots.”

Artists want what they’ve always wanted: to create, connect, and inspire. To impact change, and leave the world a better place than the one they found.

Artists don’t want to “optimize the creative process.” They embody the creative process.

And somehow, in this hyper-automated, “profits before people” type of world… that became a bad thing?

Artists deserve a seat at the table, and we’re giving them one.

We’re booking them shows. We’re bringing them to industry events across state and country borders. We’re celebrating their milestones. In the process, we’re connecting with artists and industry changemakers from all over the world because we believe that, if enough of us can get on the same page, we can change the game for the better.

We can create an ecosystem built on sound moral and business principles; one which allows space for art so rich and diverse in scope that it becomes the new standard.

We’re here to create a new music industry: one where Creators Have the Power.

There is no art without artists. There is no music industry without musicians.

It’s time to give them their rightful seat at the table.

The Blog Turns 10 Years Old!

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This past Sunday, January 18 marked 10 years since we officially launched.

Things looked a bit different back then. For one thing, Nashville was not yet a twinkle in our eyes. We were based in Bethlehem, PA, where we opened our digital doors to little fanfare as the plucky upstart, Lehigh Valley Underground.

I had just moved back to Bethlehem, my college town, the previous spring. I had worked as Event Staff for ArtsQuest since Musikfest 2014, and secured a PR & Marketing Coordinator job right next door at PBS39 by year’s end. After relocating from New Jersey in May 2015, The Quinn Spinn had gone into hibernation, and our entire fledgling platform faced an uncertain future, amid my and the group’s collective life changes.

I knew that I wanted to keep going, but I felt like the show would function better as part of a greater whole. That’s when I decided to try my hand at starting a music review blog. The first iteration was a short-lived Tumblr blog under The Quinn Spinn banner.

Then, after a night out on the scene in early September, it clicked.

I looked around at my surroundings. Bethlehem — and the Lehigh Valley as a whole — has long had a talent-rich music scene. And, with ArtsQuest playing host to the nation’s largest free, ungated music festival since 1984, it even had more industry infrastructure than most markets its size. There were even a handful of independent media outlets promoting local happenings. It felt like the right time to add a new voice to the region’s music landscape.

The following week, I began brainstorming. It didn’t take me long to come up with the name; we were in the Lehigh Valley, and we’d be giving shine to the original (i.e.; Underground) music scene. I went to work on a logo, and the early sketches involved designing the letters “LVU” entirely out of sewer pipes. You know… because pipes run underground.

Fortunately, I wasn’t a talented enough graphic designer to pull that off, so the idea never gained steam. I needed something simpler and text-based, and it needed to be gritty. So, I opened up Illustrator and, lo and behold, found the perfect typeface — Almaq Rough. From there, I pulled up a stock image of an acoustic guitar, put a sketch filter over it, and we had THIS beaut…

…which I immediately recognized looked terrible and was difficult to read. So, I changed the text to all white against the grey backdrop.

Still not my prettiest work to date, but it would do!

I would spend the next couple months building the backend of the website — yes, this very site that you’re currently visiting! I started contacting artists whom we had featured throughout The Quinn Spinn’s run, offering them the opportunity to be among the first featured on our new blog. I also decided to hold off on our official launch until January. After all, the holidays aren’t typically the best time to launch a new thing, and I was just beginning to process the sudden loss of my mother that September. I had spent much of the fall easing back into everyday life, and wanted to be sure that I didn’t overload myself. Work on the project resumed in November, after the Cubs had been eliminated from the playoffs in quick and hilarious fashion by the Mets in the NLCS. I no longer had a distraction, so it was once again time for an outlet.

Finally, on January 18 — Martin Luther King Jr. Day, because I had the full day off from work — I lifted the veil. We published our first features. Lehigh Valley Underground was live!

Immediately, I started venturing out onto the scene. I started connecting with artists and independent other media outlets. I also began observing the climate of the local ecosystem and one of its landmark events, the Lehigh Valley Music Awards (LVMAs). I worked the 2016 event in my Event Staff role at ArtsQuest, and I came away impressed with the production. However, I was disappointed with the behavior of those who came up short that night, who let their vitriol fly in seemingly every comment section in the region after the show.

So, I did what any complete unknown with a six-week-old music blog would do.

I wrote this.

I took a deep breath before hitting “Publish,” knowing that one of two things would happen: it would establish LVU as an emerging voice in the local music landscape, or it would get us blacklisted from everywhere.

To my delight, it was the former. The LVMAs shared the post and, a few months later, invited us to take part in their official showcase at Musikfest. I started to hear my co-workers and the leadership team at ArtsQuest begin to talk about this new Lehigh Valley Underground thing. The region’s prominent artists began submitting their music and inviting us to cover their gigs. I found myself at more events all over the Valley, I continued improving as a photographer, and all of a sudden, we had a local music movement on our hands.

The rest, as they say, is history — and I’m excited to take a deeper look at that entire history throughout UMC’s 10th Anniversary year.

In the spirit of everyone on the internet talking about 2016, there’s no better time to look back on our roots. They tell the story of where we’ve been, and hold many important keys that we’ll need on the road ahead. 2016 marked a new beginning, and those early days, the lessons learned, and a decade’s worth of twists and turns have led us to the point where we’re still standing, 10 years later, and once again ready to travel the world, as we work to connect independent creatives everywhere.

We hope you enjoy the ride alongside us. 10 years of The Blog, and we’re still just getting started.

Learning to Trust the Process

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Pictured: The Toronto skyline from the top floor of Hotel X — one of the many places we traveled throughout 2025 as a result of trusting the process.

True depth and meaning cannot be manufactured. It must be developed in the process.

The process of creating. The process of being. The process of experiencing life with no attachment to outcomes. When we try to force the meaning, or control the result of each moment and interaction, we lose something very important: the opportunity for a beautiful, unique story to weave itself out of the ether and into the fabric of our existence. 

Think about moments when things have gone well. Did you take those moments in stride, as positive feedback that the journey you’re on is the right one? That the process you’ve put into place is working? Or, did you see those moments as the ultimate triumph; the finish line you’ve been waiting to cross, only to find that life still goes on, with or without us.

Even in moments when our dreams come true, the sun still rises the next day. Don’t get caught dreaming too long, or you’ll miss what’s next.

The same goes for our unfavorable outcomes. Do you dwell on them? Do you resent people, places, or situations for not giving you what you want? Were you so attached to the outcome that you forgot to savor the experience or learn the lesson? Or, did you take *those* moments in stride as evidence that it might be time to try something different?

Did you regret trying those different things, or did they lead to cherished memories, aligned and supportive new relationships, and amazing experiences — all of which you’d never have had, had you gotten what you wanted in the first place?

No matter the outcome, there is beauty we can only see once we’ve learned to trust the process.

The process is where life itself happens.

Want to Improve the Music Industry? Start Listening to the Artists

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We exist in a music industry that seeks to convince artists and consumers alike that efficiency and optimization matter more than truth; that creating as a means to an end is more important than the sanctity of the creative process itself.

For years, the industry-prescribed blueprint for artist success has been as follows: Chase trends. Go viral. Write and record the music that we know will sell, regardless of what *you* want to pursue creatively. Oh, and get those social and streaming numbers up. Otherwise, we won’t take you seriously, and we won’t even have a productive conversation with you in the first place.

Oh, and that’s not even getting into all of this AI stuff. Personally, I’m not against AI as a companion tool to enhance your business processes. For example, if you need something to help optimize your email marketing process, so you can get back to what you’re *actually* here to create – and you can’t afford to hire a human – it’s reasonable to delegate that work to your hypervirtual assistant. In that case, you’ll free up time to focus on your piece of this – the creation itself.

However, this notion that AI could somehow *replace* the artist – that, for the sake of optimization, it can and should be used to generate music, images, video, and tell the stories that human artists have been telling for centuries – is a slap to the collective face of creators everywhere. The art that inspires us (and whose data exists within these servers to be replicated, not duplicated, and certainly never improved upon) was created from genuine human experiences by living creative beings. Each song, image, novel, or film tells the story of the individual moment and its own unique conditions – events that can only truly be experienced alongside other living things, and the world in which we live.

But, I digress…

The over-optimization of the creative process – where the focus is not on connection, but consumption – is at odds with the innovative spirit of the independent artist. Straighten up, fly right, and do what we say… or we’ll just find the next person who will, and you’ll be left fighting Spotify for fractions of a cent with all of your other aUtHeNtIc, oRiGiNaL indie buddies.

Feels hopeless, doesn’t it? Especially when you consider that those who put this structure in place are also the ones who hold the cards…

…under this model of the industry.

We need an alternative.

The industry is in dire need of people with fresh ideas. The artists have them. They’re the ones who have observed from the bottom of the totem pole for as long as there has been a music industry. They’re crafty, resourceful, and they know what it takes to persevere and keep going. They’ve also seen everything that’s wrong with this version of the music industry, and therefore, have the best perspective on how to make it better.

Artists understand business. They understand that, to build your passion into a career, it takes more than just talent, good looks, or a viral moment. It takes waking up every morning – sometimes after a long night – and putting in consistent effort over years. Decades, even. It takes balancing the creative process with other jobs, school, business responsibilities, relationships, family obligations, and their own checkbooks. It means a lot of trial and error; each time they get something wrong, big or small, they must learn to trust themselves all over again, and strive to get it just a little more right the next time.

You want dedication? You want commitment? You want someone who has meticulously developed a versatile skillset? Someone who is going to keep working, and who will keep getting back up every time they’re knocked down? Look to your local independent artist. A savvy one is the best business partner you could ever have.

Oh… and did I mention that they’re the reason we even *have* an industry in the first place? There is no art without artists. And there certainly wouldn’t be any AI slop without them, either.

The artists deserve seats at the table, and we all need to hear what they have to say.

As we head into 2026, Underground Music Collective pledges to provide a forum for these artists. Through our multimedia content, live experiences, expanding suite of Artistpreneur services, and travels to music industry events across multiple continents, we will elevate our creative community to have their music and their voices heard around the musical world.

Here in Nashville, 2026 also provides an opportunity to enhance our ability to serve the local community with our own dedicated physical creation spaces. Updates on that project are expected soon.

Thank you for making 2025, without question, our Best Year Ever. We’ve loved every minute.

If you loved that, though? Wait until you see what’s to come.

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