Pop singer Katy Tiz gives music industry talk
Katy visited Solent to chat with our popular music performance and popular music production students about the industry from the artist’s point of view.
Katy Tiz is a pop artist who has managed to go from humble roots in Christchurch to finding success in pop music's Mecca – the United States. She is signed to Atlantic Records and her single Whistle (While You Work It) has over 12 million listens on Spotify.
She is also an active songwriter, having written for Cheryl and Girls’ Generation among others. Katy visited Solent to chat with our popular music performance and popular music production students about the industry from the artist’s point of view.
Katy Tiz was discovered and moved to America by Lava/Republic Records, both subsidiaries of Universal Music Group. She released three singles but was dropped by the label after a year and a half.
Seeing the bigger picture, she managed to tour around and make incredible relationships in the business which led to her getting the support of iHeart, the biggest radio and promotion company in America. iHeart put Katy’s song on 150 radio stations, leading to a deal with major US label Atlantic Records.
How many songs had you written before you got noticed?
At least a hundred. You’re trying to sell a product so you have to take this into consideration. What I do is, I write three different songs – melodic, upbeat, ballad. Then you have three songs that absolutely represent you and grab attention because you want to impress the label within the first seconds. There’s a saying: don’t bore us, get to the chorus.
As someone who has been involved in both the UK and the US music industry scenes, what can you define as the main differences between the two?
Radio is still the most important thing in America and the first thing you do is go on a radio tour for six to eight months. You perform acoustically, do radio competitions and so on. Then, it becomes really important to be consistent as a person and an artist. You can’t upset anyone and you can’t be difficult because the radio control everything and it’s the last place you want to get a bad reputation.
Let’s talk about contracts. They tend to be extremely complex - how can artists guarantee a good outcome?
My first deal was rubbish but I knew it would take my further. It’s about knowing how to manipulate the situation, make relationships and reach a new audience in spite of a bad deal. It allowed me to work everything out, get my name out there, and eventually catch the attention of another label, signing a fantastic deal. You have to remember the bigger picture.
It’s also extremely important to have a decent lawyer and a team you trust. Decide all terms in the beginning and have agreements in place before anyone has any success. Otherwise, people will come after the money.
Artists often lose their creative freedom after being signed. Have you felt the same?
Yes, I lost quite a lot of it without even realising because labels have their people they want to work with. Make sure you’re always in the room, you’re involved and strong. You have to insist, otherwise, the label will make all decisions for you and you won’t be aware of anything before it’s confirmed.
What’s life like as a popstar?
It’s really tough. I see it with my brother (George Tizzard from Red Triangle Productions) too who sits in the studio the whole day – you’ve got to keep healthy. As a singer you have to eat well, drink water and keep fit. It’s so important when you’re on stage so you wouldn’t destroy your voice.
You also have to keep mentally strong as there’ll be highs and lows and you have to handle it. Falling apart may be the worst day in your life but it’s the best in a journalist’s. I’d always suggest that at any point in your career you have a person to offload on and someone to boast with. In the industry there’s way too much emotion and it’s frustrating, so it’s important to have somebody you can call, rage and then think rationally with afterward.
We have many inspiring instrumentalists and musicians here. Tell us about how you choose a live band?
We usually hold auditions and just organically meet people in the industry. In London, we also had these nights where musicians would come together and jam, so you’d find people there. It’s mostly about just getting out there and connecting with other musicians.
Paul Rutter, Head of Music, added:
"Katy provided a great opportunity for Solent students to learn first hand how new artists today are getting signed in overseas territories to majors such as Warner in the US. Katy highlighted the key importance of taste-makers and bloggers in the arts world today and how they trigger artist signings and contracts."