Overcoming common musician fears is the first step to breaking free from being stuck and broke. In this episode, Bree Noble is joined by Angela Beeching, a music career coach, to discuss how musicians can overcome the fear of rejection, pricing themselves confidently, and building a sustainable music career. Angela shares her own journey from being a cellist to becoming a career coach, as well as actionable strategies for negotiating fees, finding the right balance between art and business, and pushing past resistance to achieve growth. Tune in for an insightful conversation that will help you stop surviving and start thriving in your music career.

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Art Meets Business: How To Overcome Fear And Build A Profitable Music Career With Angela Beeching

Everyone, welcome to the show. I am excited to be here with Angela Beeching. When she introduced herself to me, I was excited because she wanted to talk about things that I love to talk about. A lot of fears that hold musicians back. A fear of if I charge too much, they won’t give me the gig or am I really worth that? Fear of getting rejected if I put myself out there and try to get some bookings, try to get some students, things like that. We’re going to delve into all of that. Before we do, I always like to start with the background and the story.

I usually don’t do bios here, but I do want to mention that Angela has worked at several universities, helping them with their music-related programs. She’s got a lot of experience. She’s currently coaching artists. She knows what she’s talking about. I’d love for you, Angela, just to let everybody know what your background is. How did you get involved in music? How did you get involved in working with students at universities and building programs there? Why are you now coaching one-on-one?

Getting To Know Angela

Thank you, Bree. It’s a pleasure to be here. I’ll try to make this succinct because I’m 65. I’ve been around the block a few times. I started out as a cellist. If someone had told me when I was younger that I’d ever end up doing this music career coaching work that I do, I would have said they were crazy because I was so focused and only on the cello. I didn’t care about any of the career stuff. I was just in love with music. When I was in school, my dream after a while was to get a tenure-track college teaching job because I thought that if I did that, I would have died and gone to heaven and I could play lots of chamber music.

I just, I’m living proof that sometimes in life you can get what you want and only then decide, “It wasn’t quite the way I imagined it.” I was dead set on, I got a doctorate, I did all the things and then I got really burnt out and I had to just figure out what am I going to do with my life now. When I was a grad student, I petitioned the school to start a music career department. They said, “Fine, we’re going to make that your teaching assistantship. You get to do that.” I had this experience and then I went and got a university teaching job.

That was all great. Once I was burnt out, I moved back to Boston, was I really liked it there, and a job at New England Conservatory opened up running their Career Development Center. Back at that time, there really weren’t schools that had these kinds of programs. While I was there, I needed a book to use while I was teaching these career development courses. There wasn’t a book, so I wrote my own. That’s been published and it’s with Oxford University Press, third edition. None of this stuff was what I had imagined for myself. I took that job thinking, “I’ll do this for a year or so until I figure out what I really want to do with my life.”

I stayed at New England Conservatory for 17 years because I love helping musicians find their own path. What’s so fascinating to me is that it’s always different for each person and the fears that come up for one person aren’t the same for the next. To me, it’s just fascinating work. Essentially, even though I worked at New England Conservatory and Manhattan School of Music, and Indiana University over the years, now I’m in private practice as a music career coach but what I get to do and what I love is helping musicians get more of their best work out into the world so they can become the artists they are meant to be.

I love that. I love that you’re saying like, I started out and I never thought I was going to do this because I think we all go through that. I had a few people on the show that said my goal was this thing. I was so focused on it. I got my doctorate, all that. Then I realized I didn’t want to do that. I got really burnt out. It’s not uncommon. I think that’s one reason that drives me with this podcast and just like our brand in general, profitable musician. There are so many ways you can make money with music. If you find that the thing that you chose, that you put all your eggs in that basket if that’s not working for you, there are other things.

I think the fascinating thing is that you want something that lights you up inside. Sometimes when you’re so burnt out with whatever plan A was, it can feel like nothing is going to light you up. That depression or that grief process, that’s a real thing. Just for any musicians listening who’ve been through that or who are in it now, I just want you to know that there is light at the end of the tunnel.

You want something that lights you up inside. Share on X

Art Meets Business

That is definitely good to mention. I’ve been through at least three phases of my career. Just because you really work hard at one thing and then you realize it’s not for you, that doesn’t mean you’re done. I think that’s a really good distinction. If you feel so burnt out that you literally are like, I don’t think anything will get me excited. If you find the thing, you’ll find that you will get excited. It’s a little scary when you get in that position.

Hopeless and dark. Let’s change the subject to make it a little happier but I did want to say that I’m so thankful to you for trailblazing those programs at schools, because I graduated in 1994 and there was no such thing as a music career, anything. It’s like you teach or you perform. That’s what we train you to do here. We don’t tell you how you get jobs at that. We just train you to be a really good musician and then we send you out into the world and good luck.

I have to say that it’s still the case though lots of schools have these programs, but not everyone who’s in one of those programs is yet ready to be thinking about this stuff. I think that one of the reasons why there can be so much fear when you get out in the world is that when we’re in school, we think almost like the business side of our art is the enemy. That was always how it was portrayed in my mind.

That’s how my colleagues talked about it, is that there was so much fear about selling out in some way, or somehow that if you take time away from practicing to do anything else, that is just antithetical to what you want to do as an artist. That thing about these two areas fighting against each other, the art and the business, that’s a real issue that comes up for people. Being able to manage your time so that you can balance both sides is an art in itself, but it’s well worth it.

I definitely see that. I see that with my clients, and with people who respond to my emails. I even wrote something pretty recently about this, the whole idea of like just because you want to make money with your art, that doesn’t mean you’re selling out, like you have to live and all that. I think in the college experience, there is almost shame around that. When you’re in college, it’s like we are here to become amazing musicians and we don’t want to think about this other stuff.

There might even be your peers thinking, “You shouldn’t be thinking about that because that’s going to detract from you becoming the best musician that you can be.” I can definitely see that happening. I also think that when you’re in college, you’re not in the real, “real world” yet. You’re not out there doing the thing. You might be thinking to yourself, “I can totally book myself. I can totally get a studio of students. Like no big deal.” Because you’re learning the thing in a book or from a professor.

Once you get out there and you try to do the thing and you maybe get rejected a few times or you realize you don’t really know how to write an email to get someone to pay attention to you for a booking or you don’t know how to price yourself and all that stuff because you haven’t been doing it in the real world, you can easily be like, “No, this isn’t for me. I cannot do this.” How do you help people get into that next level of like, the idea sounds good? I think I could do it but once I started doing it, I’m like you get shot down a few times and then you might think, “This isn’t for me.”

Overcoming Fears

One way I’d try to help my clients is by normalizing this. Those fears are going to come up. That’s a part of our resistance. Resistance, the way I think about it, that’s the term Steven Pressfield uses when he’s talking about the force that is in some ways trying to keep all of us from fulfilling our potential, from becoming who we really can be. Resistance is like the part of a brain, the amygdala, the reptilian brain.

 

It’s the fight, flight, or freeze instinct that shows up anytime we’re outside of our comfort zone. If we know to expect that this is going to happen, and that actually part of the reason we have that very base instinct, one of the advantages of having this is that when you’re pushing against it because you’re doing something to grow, that’s a sign that you’re going in the right direction. The biggest fears are going to come up when we’re striving or even considering doing the thing that’s going to bring the most growth. The projects that we have, if it really matters to us because it’s our own music or because we’re daring to get ourselves out into the world, you should expect the resistance to show up.

Then I teach clients short tools for how to get past their own fears. How to like to push against this? I myself have to use this stuff because it often comes down to there’s one scary email that needs to be sent, like to get us started or that scary conversation that we have to have with someone that we’ve been putting off, maybe a band member or whatever. Like you have to at some point ask yourself, what is really standing in my way? What is that action step that I’ve kept crossing off or not crossing off on the to-do list, keep adding it onto the next page for the next day. I keep telling myself I’m too busy when it’s actually, I’m afraid.

To be honest, let’s be honest, we all have this. This is not just the musicians. For me, it’s I need to get more sponsors for my podcast or my newsletter. It’s like, I’m building up a list of people I want to reach out to, but then it’s like, “I need to make the list bigger because I’m going to send them all at the same time. I really need to get my newsletters done before I do that this week.” We all have these things and it’s just a new level, new devil thing or whatever business you’re in, you’re going to have that. That’s normal. I always tell my clients that if you’re not doing something that makes you feel uncomfortable at least once a week, you’re definitely not growing.

You’re just going to be getting the same results. Maybe you’ve gotten really good at doing cover gigs and getting those gigs, and you’ve got a whole system around it, but you really want to promote your original music and you haven’t done that because you just got a system, you’re doing it, you’re making money with your covers, but you need to go to the next step. There’s always a next step that you need to do. I love that you’ve got some tools around that to help them get past it because we’re all going to feel that way.

One thing that I advise people to do, I don’t know if you’ve done this for yourself, Bree, if this works for you, but for me, if I schedule the scary thing first in the day and I can get it done almost before I’ve really thought too much about it, it’s a huge, huge win. If at the end of the day, before I close off the light, I’m thinking over the day, like what went well? What do I feel good about? If I’m able to say that I did the scariest thing on my list, I feel like a million bucks. Like usually if you do that, then the other difficult things that you have during the day feel like nothing compared to that scary thing, which once you’ve done it, usually you’re thinking, at least I do think, why did I have so much fear built up over this?

The first thing definitely could be it. Sometimes it’s about when do you have the most energy to work on your thing. As for me, I am a morning person. Yes, the first thing for me works really good. There’ll be something that if I need to do and it’s like 3:00 and I’ll feel like it’s the hardest thing in the world because I just don’t have that energy. Some people are night people. I tell them, “If you sit down and you do your best work on your music stuff at 8:00 PM, do that thing first when you sit down at that time. It doesn’t have to be first thing in the day, but first thing in your session.

I think that thing about figuring out the best time of day for your creative work, and then the best time of day for dealing with the business side of this. Those two things really matter. There can be huge fear around artistic work too and huge fear around taking care of business.

Rejection

Just really knowing yourself. I definitely want to get to the pricing thing because I know that’s something people really struggle with. Let’s start with the first thing that is going to put a roadblock for you with the whole idea of rejection. Before you even get to the price conversation, you have to get a conversation started, whether it’s with someone you’re trying to book with or whether you’re trying to get a new student or something.

What are the fears that you find around reaching out to people, especially if it’s cold? Do you have any suggestions on how to overcome those as far as if email’s not working for you, you should try the phone. Let’s be honest, email is easy. It’s less painful if you get rejected or you get ghosted but if you call people or if you walk into their establishment and they’re ignoring you, that’s much more difficult.

I’ll say also harder to do if you walk in. Most of my clients are booking stuff by email. It’s amazing how many excuses and how many roadblocks. We all do this. We set in front of ourselves like, “I cannot send those pitches out yet because I’m not happy with my sound samples or I’m not happy with the website that I’m sending them to.”

My EPK is not organized. I don’t have the quotes. All the things.

Then a whole year can go by and they haven’t gone further with that. They set up these roadblocks for themselves. I’m just thinking about a client I talked with yesterday, a violinist who books her own shows with a pianist and she’s very good and her website. It needed some polishing but it was in really good shape, with lots of good sound samples, and video.

In her head, reaching out to presenters, even when she’d gotten recommendations, even when she knew these series, felt like it was an impossible thing. A lot of musicians I find feel like there’s some magic formula for how to send the perfect pitch. The thing that I find is they delay like crazy sending it out, then they send out only a few and they’re heartbroken if they don’t get any response and they don’t follow up.

The thing that I like to talk to people about is you want to have a basic pitch that you’ve really gotten some good feedback on and you’ve gotten some trusted comments on it and maybe even workshopped it with a presenter or someone who’s booked you in the past like, “What did they see anything here that that could be improved on?” Having confidence that you’re sending out something that represents you well and actually piques curiosity and that you don’t have a lame subject line so that someone wouldn’t actually bother opening it. All of that really helps.

A bravado subject line like, “I’m the best person you’ll book this year or something.” Perfect for your season.

I’ve seen so many like, I’m sure you have too, Bree. We’ve all seen lots of mistakes that people make. We’ve made our own mistakes with these things. Some people are so worried about being concise that they don’t really describe their music and what they’re offering in a compelling way. They go the other direction and they attach this long bio. Just to realize there’s a real person you’re trying to connect with and you want to pique their curiosity and you want, first of all, to make some connection with them in that email.

 

Bothering to do a little research and finding out, “Am I barking up the right tree? Is this an appropriate venue for me?” Makes a big difference. That’s one of the things that I love in working with clients, I’m sure you do too, Bree. Like when you see someone really work through these things and then you see them start to get good results, it’s such a win. This violinist, when working with her, ended up sending out some really tailored pitches. I think she sent out eight and she got two bookings from that and then to question marks.

I told her what a fabulous ratio that is, because of course, she would like all eight, but to have a quarter of them come back as actual shows is fantastic. Then once you’re in that mode and you’re just sending out more and more, the ratio to be thinking about is, have you met your quota of how many you’re planning to send out this week or this month or whatever, because your job is not to decide yes or no. You don’t get to choose how many of these are going to be wins. You have to learn from it, but your job is to get those out.

It can be a little bit of a juxtaposition because we do want this to be like, you’re trying to develop a personal relationship with people, but also it is a number game. We cannot spend all day trying to connect with this one person. We need to start little conversations with as many as we can and then go deeper with the ones that are responding.

I think there’s a mindset thing, at least I’ve seen this in my clients, where they’re not thinking of this as building a relationship with someone that they’re going to know over the years or places that they would book again or people that they could refer other artists to. Like they’re not thinking of this as a real human connection. The better you are because nobody wants to be treated like a number. Nobody wants to get something that’s anonymous.

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This is Brie Noble. We’ll get right back to the show, but I’ve got an important message that I think all of you musicians need to hear. I am sick and tired of seeing talented musicians quit on themselves and their dreams because they don’t believe they can make money in music. The truth is there are tons of ways to make money for music. They’re just outside of the traditional music industry things like royalties and streaming and album sales. If you’re ready to tap into those off-the-beaten-path and lucrative streams of income and finally kick that starving artist syndrome to the curb, I’ve got something for you.

My mission is to help 100,000 indie artists to make a sustainable income and a comfortable living from their music. I have put together an awesome resource for you. It’s called 39 Little Known Income Streams and we just gave our income guide a huge facelift and massive upgrade. We’ve got 39 streams of income now you guys. Go to ProfitableMusician.com/Income to grab your free download. Now let’s get back to the show.

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I mean, we were talking before we started recording when you contacted me about being on the podcast, I didn’t know you. I was like, based upon what you sent me, you clearly had listened to my show, who my audience is, and you gave very specific ways that you could provide value. It was clear to me that you knew what you were talking about versus I get a lot of pitches from PR agents that they haven’t even paid attention to the fact that we only serve musicians which is like, “Hello, did you even look at the title of the podcast?”

Even being able to just talk about say, “I saw that you had this person. We’re both in that genre and that thing, that would even help.” Just drawing those connections of things that they’ve already done. It makes you feel like the person receiving the pitch like someone’s actually taken the trouble to do the research. I’m curious, like we talked a little bit about this, but like is there any way to reframe the responses that they get if the answer is no? Sometimes it’s no, but, or no and. Of course, sometimes there are the ones where nobody responds at all. How many times do you suggest they keep going back?

Most musicians I talked to don’t even bother to do a follow-up and that just drives me nuts. The follow-up on this whole thing about keeping a spreadsheet, when did you send it? What’s the follow-up date? All of that really does help. I don’t know what you say, Bree. I would say it’s okay to follow up twice. After that, leave it alone.

Also, there’s sometimes there is a very like, for example, I always have my assistant respond first when people are pitching to me because I get so many. She might ask a follow-up question so it might take several times of back and forth before we even see if it’s a good fit. That may be the case. Then maybe the assistant is out on maternity leave or whatever. You never know, but people tell all these stories in their head about all they hate me.

I always ask musicians, do they ever let their emails pile up? Have they meant to return something? Then the person I always say to them, I’m happy when someone says, “I sent this to you two weeks ago, not sure if you had a chance to see it.” I thank them for this because we’re only human. I think that’s the real thing.

We have the ups and downs of life. We have things that happen in our personal lives that keep us away from our email. I love that reframe, though, because so many musicians hate the admin that they do let it pile up. Then they’re like, “I guess I do that.”

Pricing

The other thing that happens is we let the outcome of any of these pitches be somehow an indictment of our value. That thing about whether it’s the rejection or the acceptance and whatever fee they’re saying they can offer, we make that like, “This is about my worth as an individual.” That’s the conversation I like to have with people early on because the amount that you can be paid for a gig has nothing to do with your value as a person or your value as a musician. Most of the time it has to do with the budget that someone has. It’s important to negotiate.

It’s important to find out as much as you can. It’s important to put your best out there. See what the market will bear. If you’re letting that external validation, that sign of external validation affect your own sense of worth, that’s just a recipe for heartache because it’s not about the money. We want to be able to do well especially if you’re getting started or you’re trying out a new market or you’re building up a new repertoire, it may be more important at this point in your game to be just out in front of audiences and to be playing more. That thing about making it a do-or-die thing, I just think that this is pain that we don’t have to suffer.

I think that’s so true. It really is more about them like the person that you’re talking to versus you as far as like, their situation could be a budget thing, could be who knows what. Maybe they have a problem with valuing musicians and that’s their problem. It’s affecting you, but it could be their problem. If you can stand on your own value, and then you can make your own decision, do I want to play for $50? No, I don’t. It’s not worth it to me.

I know I’ve had different opinions about this depending on where I was in my life. After I had my daughter, I refused to leave the house for less than $100 because I cannot afford to even if it’s down the street, because then I probably have to have a babysitter or something. Even if it’s going to play 30 minutes down the street, I still wouldn’t do it for less than $100. Now in my early career, sure, I would. Like you said, I love that you said, like it depends on what you need because sometimes we might need to practice a repertoire.

If we can do that in front of an audience, it’s going to give us a lot more juice for our practice time than if we’re doing it at home because we’re getting some feedback and that thing. It may be worth it to do a low-paying gig or even a no-pay gig once in a while. If you establish your own idea about this and you’re feeling good and strong about it in yourself then it doesn’t matter, like the amount really doesn’t matter. It’s about how you feel about the amount and whether it’s serving you at that time, I think.

The flip side of this is that which is also true is that women are notorious for not negotiating. This is an issue and it’s not just women. I think people who are in other marginalized groups, it may feel like this thing that you cannot do. It’s a little bit like bragging, like all of these things that get in the way of becoming who we really can be. When I’m talking to musicians about how much they’re charging for lessons if they teach and how much they are getting for performances or when they’re asked their fee for solo or chamber performances or whatever they’re offering, I ask them, what do they say?

Women and people in other marginalized groups are notorious for not negotiating. Share on X

When I’m hearing really low fees and I ask them, “When have you raised this or what are you basing that on?” They’ll often say, “It’s what I know. My colleagues are charging.” I said, “Have you checked lately? Do you really know that or not?” Very often when it comes to booking a gig, people will feel like if I name the fee and this is difficult that a presenter or the venue manager will ask, what’s the fee that you’re looking for? I will often say to people, you can use a phrase like, “My usual fee is X.” That leaves the room because you said usual. If it turns out that that is way outside their budget range, then you can have a conversation.

If they’re like you say my usual fee is $500 and they say, “We pay $100.” You can make that decision, right? You can just be like, “No, I cannot do that.”

Exactly. To know your bottom line. I mean, this is like, if you’re playing gigs, I remember the guy I taught with at New England Conservatory was a very active freelance guitarist and he would say, “Never quote your fee before all the details of what they’re asking for.” He was talking about the wedding gigs from hell when you have to accompany the bride’s sister and you’re having to rearrange all this music. It’s a nightmare.

The travel, all of that. A lot of this is about it can come down to educating people who don’t normally pay musicians if you’re doing house concerts and things like this. There’s a way you need to be able to talk about the money stuff without it activating your defensiveness. As if you’re negotiating something and playing hardball with the other person. The ideal negotiation is where both parties win. In order to do that, they might have to give up a little on their side to find something that will work.

I do think that sometimes we have these expectations of like, “They should know that I would never play it for less than this much.” It’s like you said, like sometimes they’ve never negotiated with musicians. I’ve done events where the event planners never had experience with musicians before because a lot of times I was maybe the speaker and the musician and I don’t know, they just had completely different expectations. Then on the other end, same thing, if they’re used to speakers, those fees are usually a lot higher. You don’t want to just go, $300 when they would have paid you $1,000.

It’s always a good tactic if you can ask, “What is your budget range?” If you can get them the usual saying is he who quotes a number first loses.

That’s right.

Try to get them talking first but a lot of times they know that. That’s where I would use the usual fee. If you’ve done enough research, if some people who’ve already performed there, if you’ve got a sense of what level people are, you can do your best with the fee. The other thing I like doing is if people are gradually trying to move their fees up, but they’re afraid to make a big leap, that’s understandable. My own business coach will say, “You have to grow into your pricing shoes.” You have to feel like you can just quote that fee when it comes down to it and know that you’re really delivering good value, that there’s no question in your mind.

You have to grow into your pricing shoes. Share on X

I think on the other side, you need to know on the low side, I always say like, “Make sure it’s a number that won’t have you resenting you having to do. I cannot believe I said I’d do this for $100.” Then ever since you said you do it, now you’re just annoyed.

Just to realize that annoyance is with yourself, but it leaks out.

You feel like it’s their fault probably, right? I didn’t ever even suggest this amount. I get that. You got to go back to like, “I’m the one that said yes.”

It’s one of the reasons why I practice this stuff with clients, we do role-playing on the phone.

That’s good.

Yeah, because I don’t think it’s easy for people to talk money. Why would we think we would be good at it if we’d never practiced it? That’s crazy, people don’t come out of the womb knowing how to do this.

That’s for sure, especially for musicians. They tend to feel a lot more uncomfortable with money than others, I think. That’s been my experience. I’m curious, do you suggest to them not to negotiate over email because I do tend to find that sometimes miscommunications happen over email?

I think what happens is musicians tend to read what’s being proposed and then they feel stuck with it. It’s a great idea if it’s clear that they’re interested in you to say, “Let’s hop on a call and talk this through.” I think many musicians are afraid to do that because they don’t know what to do with the silence. Once they’ve named a fee, and they tend to undercut themselves right away instead of standing.

It could be like, “My fee is this or whatever. I usually charge this and then the science would be like, but I could do it for this.”

There’s still this thing about what does that fee actually means to me. Just to realize that the part of the fee that does mean something here, I just want to say this is that when you treat your own work, your own music with respect, you’re going to want to make sure that you’re paying for decent fees. It doesn’t mean that it has to be exorbitant or whatever.

 

You have to decide, like you said, not for it to be a number that you’re embarrassed by or you’re resentful about, but to know that this business of negotiating the fee and taking care of the contract. Just making sure that things are done well is a way you show that you respect yourself. You’re teaching other people to treat you that way. You want to treat them that way. That’s the whole thing. I think people feel like, “It’s music. I don’t want to become a business person.” Instead of thinking of it that way, I think about it, just treating it with the respect that it deserves.

For sure. I am thinking of, “If you want to keep doing music, you got to do the business side or you’re not going to have sustenance to keep doing music.” We’ve talked about so much great stuff today. This has been really, really great. Is there anything else that you feel we haven’t covered or that you want to be sure to share, especially with indie artists who are having to figure out a lot of this stuff on their own? They don’t have a booking agent or a manager or anything to hold their hand.

Your Own Story

I know we’ve been talking about a lot of scenarios that people have been through, but I just also want to acknowledge that every musician has their own story. They’ve got their own strengths, they’ve got their own weaknesses, they’ve got liabilities, they’ve got challenges, and they’ve got opportunities. That’s what’s so great about working with a coach. Someone like Bree, someone like me, there are others out there, but that thing about getting some objective expert help can make a huge difference. I find that all of that process really starts with asking yourself the right questions.

Every musician has their own story. Share on X

There’s a really simple PDF that I’ve got on my website that I would invite anyone who’s interested. to go to my website and download it, it’s called Musician’s Pathfinder Guide. I make this available to people because I found over the years that there’s a small group of favorite questions that I like people to ask themselves to help them really think. Like, where am I right now? What is in my way would help. I would encourage you to go to AngelaBeeching.com and sign up for that Pathfinder Guide because I would love to help more people.

I love that because the title of my book is The Musician’s Profit Path. We’ve got the path in common because that is a path that is so important for musicians because like you said, every path is a bit different. It’s all influenced by your talent and your skills, but also your personality, and your life situation. Like everybody is different. Figuring out your unique path is really important and working with coaches like Angela is how you do that.

I think and being in a community with other musicians too, which is why I always feel there’s such value in communities like the Female Musician Academy that I have because you can learn from mentors like Angela and myself, and you can learn from other musicians that are going through it at the same time you are. There’s value, I think, in both of those things for sure. Where can people find you online other than on your website’s AngelaBeeching.com? How about on social media, where do you hang out?

I like to not hang out on social media as much as possible. That is the truth. Really the best way to find me is through my website. I am occasionally on Instagram and Facebook and LinkedIn, but that’s not my favorite place.

I completely get that but we will post these clips on Instagram. You can go find her on Instagram, and then when you’re on her Instagram, you can go find her website and all the other links for sure. Thank you so much, Angela. These are the conversations I love having because these are the things that I see come up the most for musicians, obstacles that are keeping them. Sometimes it’s just a little bit of reframing that’s keeping them from making huge leaps and that’s where coaches can help. Thank you for all of your insights.

Thank you for your work, Bree.

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This is Bree Noble. We’ll get back to the show in a minute. Today’s podcast is brought to you by our friends at Bandzoogle. Bandzoogle makes it easy to build a stunning website and online store for your music in just minutes. All the features you need are already built-in, including dozens of fully customizable templates, tools to sell music, merch, and tickets commission-free, industry-ready EPK features, smart links, custom landing pages, mailing list tools to grow your fan list and send professional newsletters, social media integrations to connect to your online profiles, and live support from their award-winning support team seven days a week.

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Important links

• Angela Beeching
• Profitable Musician Income
• The Musician’s Profit Path
• Instagram – Angela Beeching
• Facebook – Angela Beeching
• LinkedIn – Angela Beeching
• Profitable Musician Bandzoogle

 

About Angela Beeching

The author of the classic “Beyond Talent: Creating a Successful Career in Music,” Angela Myles Beeching is the former director of career and entrepreneurship programs at Manhattan School of Music, Indiana University, and New England Conservatory.

Ms. Beeching maintains a thriving online coaching practice helping musicians get more of their best work out into the world so they can become the artists they are meant to be. Find her online and grab your copy of her Musician’s Pathfinder Guide at http://AngelaBeeching.com.