The evolving space of technology has undeniably opened up more opportunities and tools to be creative. But just how much of this technology can help us as artists, especially for those independent artists? In this episode, Fiona Flyte, from the Profitable Performer Revolution, delves into the impact of Artificial Intelligence on the profitability of indie artists—from the good, the bad, and the ugly. What will the future look like? Will AI replace artists? How much can that human connection hold musicians and listeners together amidst the ever-growing technology? Find out the answers to these questions and more. Let Fiona share how you can leverage AI in your passion and be profitable.

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How AI Impacts Profitability For Indie Artists And How To Leverage It With Fiona Flyte

I’m excited to be here with my friend and second-time visitor, Fiona Flyte. We had her on a few years ago talking about YouTube, which is also one of her specializations. In this episode, we’re going to talk about some interesting current events kind of subjects about what’s going on in Hollywood, streaming, residuals, and AI, and how that all affects musicians. Before we jump in, maybe give them the short version of your music story, how you got started in music, what you do in music, and how that relates to what we’re going to be talking about.

Thank you so much for having me. I’m excited to be back on the show. My name is Fiona. I have a background as a classically trained opera singer. I was an opera singer and musical theater singer for many years. I’ve released an album as a classical singer and singing teacher. All that time, I was making my living in music but struggling the way that most artists do.

I started to feel quite frustrated seeing my students, who were so talented and ready to have great professional careers struggling, particularly to make money and have reliable income and lives that felt comfortable. I kept trying, putting myself out there, and going to all of the auditions until I seriously booked a dream job. Everything about it seemed like, “Yes, this is it.” I was singing for 2,000 people. We were getting standing ovations and sold out. I was not a minor character in this production. I had a significant role.

I looked around one day. I’m on stage. I’m seeing 2,000 people. I’ve sung this heart-wrenching song. I think, “I’m making minimum wage for this. Here I am at the peak of my career and this opportunity. I’m making it as an artist but it is little.” That was a real turning point for me. It was right before the pandemic. At that point, I decided something’s got to change.

I poured all of myself into studying social media and online business and how I could make that work for me as an artist and help other artists also to leverage social media in a strategic way to make money that would make them independent. We’re all indie artists, yet we’re dependent upon these gatekeepers for our livelihoods. I wanted us to become financially independent and creatively autonomous. That’s where the Profitable Performer Revolution was born.

Another good point is you’re on that stage and all those people love what you’re doing but do they know who you are? You don’t have that individual connection like an artist who’s building their brand has. You’ve got a lot of experience in the musical theater and acting world. We were talking and you were saying, “I’m passionate about talking about what’s going on in Hollywood and how it also affects musicians.”

There are many musicians that do both. They act and sing, or work on shows, sing and perform. That would affect them. The way this is playing out shows what goes on with musicians. We want to dive into all of that. First of all, make sure that everybody knows what’s going on in Hollywood and why they should care.

Part of what we also have to emphasize is that precedents are being set in terms of the contracts that come out and what is negotiated. Precedents and legal boundaries are being set that are going to impact the entertainment industries but also across all of the industries. Everything is being affected by what we’re about to talk about.

In Hollywood, the Writers Guild is on strike for quite a bit of time. Following the Writers Guild strike, the SAG-AFTRA Union has also striked. It is the union of film and television actors. All of Hollywood is shut down. When the writers shut down and the actors joined them, that halted all production. I’m so obsessed with this topic. I read the comments.

This is important for musicians and performing artists across the board. In the comments that I read, somebody says, “I’m in support of these striking actors and writers in Hollywood.” It’s not just Hollywood. It’s people in this union across the country. People in the comments will say, “I don’t care about those people already making millions of dollars. Who cares about them? They’re making so much. The poor actor wants another $1 million.” That’s not who this strike is for.

It’s the same thing that happens with musicians. If people think you’re a successful musician, they think you’re making money like somebody on a huge tour would be making. You and I know that you’re probably not. You’re a working-class musician. It’s the same in Hollywood. We have all of these working-class actors who are trying to make a good middle-class income. That possibility is being stripped from them.

 

One of the things that is fascinating is the way in which I, even here in Los Angeles, knowing so much as I did, am seeing what these people who are un-hit TV shows as writers and actors are dealing with. They are dealing with the same gig economy that all of the musicians are. Whereas, at one point, you could be a writer or an actor on a hit show, you had a contract for twenty-plus episodes for the year, and you made enough money to qualify for healthcare in your union and to live okay. That money was secured.

With streaming, the seasons have been truncated to eight episodes. When you think about your favorite shows on Netflix, are they twenty episodes per season? They’re not. They’re much shorter. That has impacted their ability to make enough money to qualify for healthcare. When we look at this big picture, we’re talking about working-class people who want to make a livable wage the same as musicians.

Whereas we thought that a job in Hollywood was protected, it’s not. It’s the same as what we are struggling with. You see somebody at an awards event, some actor who’s not a huge name but you know them from your favorite show. This is what’s coming out on their social media during the strikes. This person had to borrow money from his mom to pay for his suit. He put his bow tie on a credit card. He was on a hit show, accepting an award for that show.

This is what we’re doing and what we’re living with. This massive income gap between the CEOs and the people at the higher levels of the corporate who are running everything, whether we’re talking about a record label or Hollywood, that gap between them and the artists who are producing the product is widening, even the people we think of as being successful.

There are so many things similar to what musicians go through. What are they trying to negotiate with these strikes? Why are they even in this position to begin with? I feel like this is similar to what’s gone on with musicians trying to get more money from streaming and things like that.

I believe the same things that are being negotiated. There are, “Can we please increase payment to match inflation?” I go to buy dog food. Every week, it’s $1 or $2 more for dog food. I spoke to one of the people on staff there. I said, “This seems a lot more expensive.” She said to me, “Every week, we are increasing the prices. We get it from corporate and we increase the prices.” This is what inflation is looking like for me in Los Angeles. Could we increase it a tiny bit? Could we increase the payments to match inflation?

The other two things are 100% in alignment with what is happening for musicians and things that musicians need to be aware of and concerned about. I don’t believe that enough musicians are paying attention to this. You are paying attention to this issue of streaming but the AI issue. We’ll start with residuals. Residuals in Hollywood are your royalties as a musician or what you get from streaming.

The thing is the way it used to work for TV actors is that when a show like Friends was sold in syndication, every time an episode was played, those actors received a payment. You might receive royalties when your albums are sold. That was great. It meant that if you were on a hit TV show and you planned well, you had enough money for retirement. That is what happened to all of those actors on Friends, assuming they managed their money well.

There was this new media contract at the beginning of the streaming era, which was to support people like me who wanted to create YouTube videos with my friends. I might use it but who’s using it? Netflix, Amazon, Disney, and Hulu. Massive tech companies have found this loophole with the new media contracts. They are paying literal pennies for streaming. There’s no transparency around how well any particular show on any particular streaming site is doing. You know by word of mouth that Emily in Paris is doing well or Stranger Things but you don’t have any numbers. You’re not getting any payment beyond pennies and what you originally paid.

This is abhorrent. It’s made it impossible to earn a living as an actor in Hollywood. It is like what we all know is happening with Spotify or any of those platforms where you’re getting fractions of pennies for all of your efforts but they’re getting their subscriptions and new users. The streaming platforms couldn’t exist without you and your art.

The streaming platforms couldn't exist without you and your art. Click To Tweet

Are they having to report to the unions how many streams are happening to pay those pennies? Wouldn’t they still have to show in some way?

This is one of the primary things that is being fought over transparency in this area. I believe there is a little bit of sharing around this but nowhere near what is necessary for information.

Is there any more you want to talk about residuals and stuff before we go into the big AI question because that’s a big one?

I wanted to share that is one of the things of residuals and make this comparison for all of you musicians about what is happening here in Hollywood and how similar it is to what is happening for you with streaming your albums. Let’s jump into AI because what they want around AI is consent and compensation.

One of the offers that was made was rejected by the SAG-AFTRA. One of the offers that the AMPTP, the negotiating body for the producers, was we would like to pay your background actors. Background actors are the people who don’t have lines. They’re in the background. It’s contracted that a production needs to hire a certain number of background actors.

One of the things I believe is important to understand is being a background actor is one of the ways you get into the union. Brad Pitt got into the union that way. I got into the union that way. You book three SAG union background jobs and you can get into the union. They would like to pay the background actor for one day of work, scan them into the computer, and use that scan in perpetuity.

I’m glad you’re explaining this because I was trying to figure out how in the world AI can work with actors.

We have a background actor scanned into the computer with all of their movements in perpetuity. There is no reason to ever hire a background actor again. If you even look at any of what’s happening with AI and Instagram, there are AI producers, small tech companies, or small platforms where they show you. I watched one and it was horrifying to me. They took a woman. She is there smiling and moves her head. They have the screen cut half of their face and they become another race. It smooths it out so they’re fully the other race. It goes back and they’re another race.

We’re not even talking about changing skin tone, skin color, hair length, or hairstyle. We’re talking about changing the complete essence of the person. If there’s not an ethical problem in this, I don’t know what there is. You take enough background actors. It wouldn’t take much. You scan them all and populate the scenes with them wherever you want them, doing whatever you want them to do. We’ve obliterated an entire job sector within Hollywood, all of the background actors, which is why a lot of actors are trying to make it earn money. A lot of actors join the union but there are more ethical considerations.

 

Brad Pitt, for example, this is how he entered the union. What happens if the next Brad Pitt does this, becomes famous, and his likeness is owned in perpetuity by whoever got his background, consent, or scanned him originally in perpetuity? They can use him for anything that he wants without his consent. We also wiped out all of the supportive job sectors related to background actors.

As someone who’s done background acting, I can tell you that means whoever set up the tent to protect us from the sun is gone. The food service, the person that monitors the parking, the person that runs the shuttle to and from parking, and the person that manages payroll for the background actors are gone. We’re wiping out income for all of these working-class people.

These are things that those of us haven’t been in the industry and I didn’t even think about this iteration of AI, which is interesting. We’ll get to the point where we don’t even need real actors to do the speaking parts.

If you are a star, you have some potential legal challenges that you could make. A hundred percent already, they have the capability of taking your voice and using it any way they want. If you think about you can write something down and have the computer speak it for you, they can take any voice that has been scanned in and use it however they want.

If you see all of the deep fake stuff, there’s that deep fake Tom Cruise guy. The technology is there. You can see it. It’s convincing a lot of the time in his videos that he’s Tom Cruise. All of this already exists. The only thing that’s stopping them from being used already in the movies themselves is the fact that they could be sued because there are no legal things. That’s why I said at the beginning that precedents are being set here. If you go from this question around usage, you think about that Drake song, Heart on My Sleeve. This was an AI-generated song that sounded like Drake. This is going to affect everybody across all industries.

Before we get into how this affects musicians, I wanted to ask. I’ve heard some people say, “Pandora’s box has already been opened. There’s no going back. If they would’ve done these negotiations a few years earlier and they could have seen the future of AI, it’s too far beyond where they can reel it back in.” Do you think that might be the case?

Yes and no. Yes, there’s no stopping this. This is the future and technology. This is where everything is headed. There’s no stopping the trajectory of AI. That would be like going back and stopping the internet. We don’t want to because we want to ride the wave of technology and expand the world, universe, and what’s possible.

Is it late to put in governmental restrictions? No. Is there late to set legal boundaries around consent? No. It’s not too late for that. That’s the whole point. Are there also always going to be dishonest crooked thieves out there? You may or may not have heard about having a safe word in your family because one of the scams that are going around is having an AI-generated voice that sounds like your child or other family member calling you and telling you they’re in trouble. How do you tell if your kid is safe in their college dorm room or at home with you in their bedroom or if they are in trouble?

There are parent educators who talk about how a safe word for those situations. Knowing that is a possibility is like this voice copying thing can happen at any level to regular people. It can be stealing your music, singing, and acting. It can steal your voice whether you’re a non-famous person or a celebrity.

I have been burying my head in the sand a bit around AI because I’m like, “I can’t wrap my head around this. It sounds scary.” On the musician side, what do we need to know about this? What do we need to be looking out for to protect ourselves and understand where the industry is going to go with this?

There are silver linings in all of this. It matters that you become educated. It is important that you understand what’s going on and start to make choices for yourself. There are ethical and self-protective things to consider. One of the things that are a bright light for me is that it is 100% possible to reproduce or create a new filmed performance of someone, have it look like that person and seem to be that person. You look at Carrie Fisher in the last Star Wars movie or at the way in which they made Harrison Ford younger in the Indiana Jones movie.

It matters that you become educated about AI. It is really important that you understand what's going on, and that you start to make choices for yourself. Click To Tweet

This also is the same technology we are talking about. It’s been here, even the person speaking on Waze. I don’t know if you have the Waze. You can choose to have some celebrity’s voice. Did you ever realize, “If I can have the celebrity voicing my ways, that’s AI?” They could be voicing anything but they’re not there in the car with you live. You don’t have that celebrity sitting next to you in your car seat live doing your directions.

That is a bright spot for me in terms of live performance. There’s not going to be a way yet. At some point, perhaps we’ll have humanoid robots who look like people. We’re not there yet. Where we’re at is there’s nothing like the live energy there on stage as a musician. I want to have a caveat to that because my teenager introduced me a while ago to this quote, “Vocaloid Hatsune Miku.” Have you heard of her?

No.

She’s famous. She’s a hologram that performs to live audiences.

I was thinking about the ABBA hologram tour.

This exists. There are voice-sampled singing software that could become live performers or are already live performers. That’s not going to replace the experience of you going to a show and experiencing your favorite person live. Why is that person your favorite person? This gets into what I help performing artists with.

That is your favorite person because you have a relationship with that person probably over social media. You have come to connect and identify with them. They’ve built their audience and personal brand. You believe that they are a person. Humans want to connect with other people. If you build your audience, they will want to connect with you and show up at your live events. That is not replaceable by AI.

Another bright spot for those of you who are musicians who also have some teaching or coaching business is what I did for a long time. I performed as a singer live and taught singing lessons. There’s nothing that can replace the human connection of having a one-to-one singing lesson and/or any music lesson. While there are AI therapists, I’m going to be an AI teacher, piano teacher, and drum teacher. This is similar to learning from a YouTube video. There’s going to be interactive. There may already be interactive therapy via AI or else on the way. It sounds crazy.

It’ll be cheaper to do it that way but nothing can replace the space you, as a human, hold for your student. Even if that does become an option, there are always going to be human people who want to connect in a lesson space with other human people. Those two things are great knowings for musicians but for you to benefit from that, you need to be building your audience and yourself so that you can get the people to your shows and continue to have that relationship, whether you’re performing or teaching. That’s one-half of what musicians want to do.

It all comes down to relationships. Maybe someday, people will say, “We can have a relationship with an AI.”

The movies do that.

It’s going to benefit indie artists, especially the organic performing experience. You may still go. There may still be holograms performing in big arenas but there’s nothing that can replace that experience of seeing your favorite indie artist in a coffee shop, a house concert, or something where you can almost touch them. The fact that no performance is the same every time if it’s a real person. The performance that you get in that experience is your own. No one else other than the people in that room experienced that performance. That’s a bright spot and something indie artists can lean into.

The other half of the AI thing is how you, as a musician, want to use it. Do you want to embrace it? Do you want to ignore it? Ignoring it completely, in your ethics and morality, you simply cannot go near the AI. It’s a little bit shortsighted. We need to understand the technology. Ideally, we can benefit from it as well. We’re going to get into some of the ethical concerns.

On a large scale, at a label, and this is what we’re talking about in Hollywood, you’ve got a lot of people working to put out an album. You’ve got the music producer, graphic designer, album cover, marketing, and promotion. You’ve got people in all of these different parts that go to promoting, creating, and putting out the album. This AI can be used to, like with the issue in Hollywood, wipe out certain sectors.

For example, you could have one tech producer who knows all the software and create the album artwork, backing tracks, and instrumentation. You could have one person who’s savvy as an overall music producer or album producer doing all of the jobs, even generating the songs themselves because you can put them into the AI and say, “I want a song that sounds like this. I want it to be moody and soulful. It needs to have a lot of rhymes. It should talk about aging and get a song.”

Is that song going to suck?

This is where we go back to Drake’s Heart on My Sleeve song. It’s not going to suck. It’s going to be where it is at this stage of development in the tech. Later on, the more that gets fed into the AI software, the better it’s going to get. AI is iterative. It can only use what it has been fed. It’s going to be repeating what it has already been fed but that is art. As artists, we want to take all the credit for our creations but we’ve been influenced by all the people we’ve been influenced by.

 

You could create something entirely new by saying, “I want a song that sounds like in a musical theater. I want the singer’s voice to be a mixture of Audra McDonald and Patti LuPone. I want a mixture of the Beatles and Prince.” You’re going to get something different when you mash up these things that could be entirely new. This is what we’re dealing with.

This is a real-world version of what people put in their bios like, “My sound is like this person and this person had a baby.”

That already exists and there are massive ethical concerns. As an independent artist, is it wrong for you if you’re already doing your album artwork to benefit from AI’s ability to augment what you might be able to create on your own?

It would help indie artists with money. Whereas the label, it’s cutting out all these sectors of jobs. For the indie artists, it’s bringing it down to a level we can afford.

This is why it’s important that you start to embrace the parts of AI that you can use to support yourself as an indie artist. There’s a graphic design like an immediate yes. I’m using Canva. I use it all the time. There are many things in there that are being driven by technology or using Lightroom. For all your Instagram posts and social media, you can start using AI to help you with that. There is a concern for me. I have yet to try to generate captions using ChatGPT. A lot of people are doing it. I’m a good writer. I don’t know that I want to give it all of my writing even to benefit myself because there are no legal constraints and boundaries.

It doesn’t hold to you. You can put it in there and somebody else’s caption might suddenly look like yours.

I haven’t done enough research yet on all of this. The other thing is that there’s nothing stopping someone from saying, “I love the way Fiona writes her captions. I’m going to feed it a bunch of Fiona’s captions. I want to sound like a mashup between Fiona and Tony Robbins.” Can we pull this back in the box? No, we can’t pull it back. Can we start to build consent and legal parameters? What is okay and what’s not?

Somebody who’s talking a lot about AI, particularly about AI in film, is Justine Bateman. If anyone is interested in what’s going on with AI in film, I recommend looking up Justine Bateman. She’s active on Instagram. One of the things that she said that I liked was, “This AI thing is an absolute monster. It’s horrific. I can’t stand it.” On the other side, this is about Pandora’s box. We’ve opened Pandora’s box. It exists. It’s no going back. We can’t box it back up.

One of the things that she says is there’s going to be a post-apocalypse. I’m using my words but she says, “There’s a bright side at the end of this.” Using my words, it’s like, “In the post-apocalypse, there’s going to be a rebirth of that desire for true human connection.” I had a client who described it as the pendulum swinging both ways. We’re going into the AI but there’s going to be a reverse swing of the pendulum where everything is fake and I want to see what’s real.

 

That goes back to what I said about how organic performances are going to be so much more valuable.

I truly believe that.

When I first came into the industry and started my academy in 2015, I felt like that era was all about like, “I don’t need to perform live. I can sell my music online. I can sit in my basement, make music, and develop all my fans online. I never have to go out of the house.” I was always against that because I feel like one big part of being a musician is who you are on stage.

Also, that connection with your audience that you can’t get any other way. There are people that can do that other thing and can be successful but for me, that would never work. The people that I like to work with wouldn’t fulfill them. I was always pushing back on that whole thing. The pendulum is swinging here and it’s being accelerated by this AI revolution.

On the other side, it’s that connection and the electricity you feel throughout your body as a human being in a room with other humans dancing, hearing your artist, and feeling the beat in your body, in harmony with all the other people and human beings. Human beings want and need connection and community with other human beings. I do not believe that. Where we’re at for the foreseeable future? I believe we’re going to swing back to that. There’s a craving for it as well.

There's nothing we human beings want and need but connection and community with other human beings. Click To Tweet

With the pandemic and all that, there was already a turn back to, “I want those live experiences.” AI is going to push it even more in that direction. That doesn’t mean there are not going to be those people out there online making an income through AI music. There will be.

It reminds me that there is a job opportunity here for any music producers out there who are listening and are like, “I love the AI. I want to embrace it.” It is your time. I would encourage those people to embrace it. You have got some great pathways to income and jobs, either independently or working for a larger producer.

Is there anything we haven’t covered in this conversation? I want to make sure we cover all the important points and that everybody is educated on this as much as possible. Where can they go to get more educated?

Justine Bateman is a good person to follow on Instagram for a high level on all of this. We should talk about the ethical considerations. Touch on them, especially those of you who are going to fully embrace it. I’m not saying don’t embrace it. I’m saying embrace it with your eyes open about where’s the line that you’re going to draw. There are issues of copyright. This is huge.

One of the things that Justine Bateman talks about is in terms of Hollywood, why aren’t they saying you can’t use our films? Films are being produced AI-driven that have been sampling copyrighted films and performances. The studios, to this point, have not come out and said, “You can’t use our stuff in your films.” Her concern is that’s because this is what they want to be doing themselves. There are massive concerns around copyright and how you can protect yourself as a copyright holder and musician.

They don’t want to come out against it because that would shut them down from doing what they want to move forward and doing.

You have to understand that these are studios that would go after a single person in their living room who is bootlegging a couple of movies to sell. They’ll go after you for bootlegging but they’re not going after these AI-produced films. There’s a disconnect going on. That’s one of her points. For yourself, you need to be paying attention to this copyright issue, whether or not your stuff is being used. That’s an ethical consideration.

If you use AI in the creation of your music, how are you sampling? How are you getting your input? Is it copyright approved? There was an article called CorporateDirect.com. For anyone who wants to follow up on this, the article was AI May Be Infringing On Your Copyrights. For all of you who hold copyrights for your music, that might be an article to read. Start thinking about or being aware.

There are two sides to this. It is protecting your copyright and not getting in trouble because there are no legal boundaries but, as a music producer or musician, you could create a hybrid new song that goes viral of some mashup of your stuff with something from the AI, and later, have a copyright infringement slapped on you. The laws are not in place yet. That’s a real danger.

Be aware when we’re looking at the AI stuff for your album art and what you’re using on Instagram for the visuals like this thing about the standard of beauty. This was another article that I saw. It had nothing to do with standards of beauty. It was talking about how I could use one platform mid-journey. How can I get a prompt for mid-journey from ChatGPT? It was about what prompts I should be using to generate my AI. The prompt was something about, “I want a beautiful young woman with red hair in nature.”

The AI was producing a traditionally White aesthetic red-haired beauty. When I saw those images, I was thinking, “What is this going to do to young people growing up who are beginning to see what they want to see in the mirror or aren’t feeling good about themselves?” AI is determining our standards of beauty because it had a clear standard of what beauty was and it was a traditionalist.

It’s what’s been fed if we feed it more versions of beauty, maybe.

The appropriation in that same article said, “Produce this very culturally specific piece of art.” It immediately pushed out this art that looked like this other culture entirely. I don’t think we should have that power or capability that feels like appropriation. I’m very uncomfortable with it. It’s putting whole job sectors out of work. Those are some of the ethical considerations.

I’m not saying put any dark cloud over your use of AI. We want to go into it with our eyes open and be aware of what the ethics are, what is our moral compass, where we can play, and where’s the room. I’m okay using filters when I show up on Instagram of myself if it makes me feel more confident. I’m okay with editing in Lightroom beyond my skills because AI is doing it for me. I don’t have to learn how to use Photoshop. Where’s your ethical, moral compass in terms of your use of AI? It is being aware that there are things to think about.

We want to go into AI with our eyes open and be aware of what is what, the ethics, our moral compass, and where we can play. Click To Tweet

It’s good to do a gut check with yourself as you go into it. Since we’ve got all these technologies, is there any technology that can help you search to see if somebody’s using your music in their AI?

I do not know. It’s an important question. Someone needs to come up with it. That article would be a place to start.

It’s like you Google yourself. You are finding where you are and where your stuff is online.

How much of it gets copied is so interesting and complex.

When it’s mish-mashed with other stuff, could it even recognize that it was yours anymore?

If it doesn’t, it’s okay. If it’s a copy, like the Heart on My Sleeve, it’s not okay at all.

This has been quite a mind-bender on my side by thinking about all these things. I will admit that I have not been like, “I need to immediately get someone on here to talk about AI.” I’m like, “The whole thing makes my head spin.” It is very important for us all to know about it. When you mentioned having this conversation, I couldn’t imagine anyone better to have this conversation because you do care about the ethics of it and you do your research. Thank you for everything that you’ve told us. Can you let everybody know how they can find you online, follow you on social media, and where they can find out about The Profitable Performer?

My handles are everywhere. It is Fiona Flyte. I am active daily on Instagram and Facebook. On Facebook, I have a free group for performing artists who want to become profitable, who are artist-entrepreneurs, or at least want to lean or begin to lean in that direction of becoming artist entrepreneurs, people who want to grow your social media following, leverage social media to make money, and grow your online business.

That is The Profitable Performer with Fiona Flyte. You can probably search Profitable Performer on Facebook and you’ll find that group. That group has got free content daily. On my YouTube channel, there’s so much value. They’re also free. That is @FionaFlyte. I talk about all things mindset, marketing, and monetization for musicians and performing artists there. I have ways that you can pay to work with me and we can dive deep together. This is my great joy and passion.

I have an amazing program called Reel Magic, which is such a cool way to enter with me. It’s quite inexpensive. Message me about that. It teaches you everything about reels as a performing artist and how to promote yourself. In there is a masterclass called Reels Rockstar, which is specifically all about self-promotion as a musician and artist. I also have got a bigger year-long program called The Profitable Performer Revolution. This is where I help you build your business for an entire year. Message me about any of it.

She provides so much value on Instagram. I always run across your reels all the time. They’re so good and always thought-provoking. She writes amazing captions. Don’t skip the captions. Thank you so much, Fiona. It’s been great to have you back on the show. I look forward to us being able to meet again in person. It’s fun that you’re in LA. Hopefully, we can do that again soon.

I can’t wait.

 

Important Links

• Fiona Flyte
• Profitable Performer Revolution
• Writers Guild
• SAG-AFTRA
• Justine Bateman – Instagram
• CorporateDirect.com
• AI May Be Infringing On Your Copyrights
• Instagram – Fiona Flyte
• Facebook – Fiona Flyte
• The Profitable Performer with Fiona Flyte – Facebook
• @FionaFlyte – YouTube
• Reel Magic
• Reels Rockstar

 

About Fiona Flyte

Fiona Flyte helps performing artists leverage social media to create and scale successful online businesses. With two decades of professional experience as a singer and voice coach, Fiona is uniquely positioned to understand the challenges facing today’s performing artists. And from her personal experience has grown a passion for helping other performers to become profitable!