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When you release a single, you often have to choose one or more genres. This request can come from a variety of sources including your performing rights and performance organisations, your distributor, and the platforms streaming or selling your music. If you are on platforms like Bandcamp and SoundCloud, as well as the standard streaming platforms like Spotify and Amazon Music, this can involve doing this several times.

There are several problems with these lists. For one, they are extensive and involve a great deal of scrolling, which means that your preferred choice is easy to miss. They are also pretty inconsistent. What you choose on one list is often unavailable on the others. There are also many genres that you have never heard of previously, e.g. Antideutsche, Atmospheric Doom, Arunachal Indie. Some of the lists suggest that you choose multiple genres which adds to the confusion. There are also genres that you feel you should avoid such as “Easy Listening”. Surely, your latest release is better than that.

I am old enough to remember when there was classical, pop, rock, folk, country, R&B, gospel, jazz and show music – and little else. Then, subgenres such as ska, glam rock, and disco started to appear before the start of the explosion somewhere around the late seventies and early eighties. This explosion continued through the intervening years until now, when you have to be aware of at least some of the new genres that keep appearing. Electronic music, for example, gave us subgenres such as EDM, which in turn had subgenres such as Trance, which again had subgenres such as Uplifting Trance. I am sure that Uplifting Trance, itself, has many subgenres, although I am not aware of any.

The burning question is how important is your choice of genre on these platforms. I imagine that Spotify wouldn’t put your track anywhere near an EDM playlist if you answered “Easy Listening” as your choice, but how much more it matters is not exactly clear. As such, you might spend two minutes or an entire morning deciding without realising that you should have spent more or less time on it.

Which brings us to the next question. Given that there appears to be a near-infinite number of choices, should you start a genre of your own? It certainly won’t help you answer the question, but it might give you a new-found credibility. Unfortunately, “Other – please specify” is not usually a category.

Oh well, for our new release on this particular platform let’s just choose, say, these three genres, as they are roughly appropriate, and just hope that at least one of them will appear on the list of the next platform.

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First of all, Happy New Year to everyone who reads this.

So what can we expect in the music scene in 2025 and how does this affect my music? According to music pro and author, Bobby Owsinski, successful songs in 2024 were slower than before and contained a high rhyming density with multiple rhymes including internal rhyming, i.e. rhymes within single lines of lyric. AI is taking a foothold in music, as well as in everything else, but is expected to become more regulated in the coming year.

Having read Bobby’s book “The Musician’s Ai Handbook”, I developed my own strategy on the use of AI in music. Firstly, I feel that it’s best to totally avoid AI in areas which involve, or in time will involve, copyright. Examples of this include melody, lyrics and some aspects of performance such as vocals. This is both from a legal and moral viewpoint as you are ripping off the work of other people who may well seek litigation. I also firmly believe that you should stay in total control of your own work using AI only to offer you suggestions. I use a software tool called Scaler 2 to help me create chord sequences, which are not subject to copyright issues, and the Mastering Assistant in Ozone 11 to help me produce a final master of my recording. When I feel that these AI tools produce something I like, I try to investigate why it appears to be working with a view to learning from it. Some song pitches now state that they will not accept tracks involving any use of AI, although I think that in 2025 this is becoming increasingly hard to achieve. Even a singer/songwriter with only an acoustic guitar for accompaniment is probably using a microphone with AI noise reduction.

Of the other trends that Bobby raises, I feel that the song which will probably be my next release, “Jukebox in My Head”, scores highly on rhyming density but, at 120 bpm, cannot be reasonably described as slow – or fast for that matter. Personally, I don’t bother too much with trends, although I believe it’s good to be aware of them. I am more concerned with the fact that Roberta wrote the lyric for this song and, since she has not written any other lyrics, has not joined PRS. I am not sure how that affects any royalty payments but will endeavour to find out.

Lastly, I believe that I have purchased the software upgrades I need to progress, Cubase 14 Pro and Kontakt 8, and look forward to producing much more music in the coming year.