Matt Tarka

Introduction

My name is Matt Tarka. I am a singer-songwriter from Lititz, Pennsylvania. 

Ever since I picked up an electric bass guitar when I was 15 years old and joined a rock and roll band, I have possessed a desire to share stories with a guitar and voice, and present myself in the most authentic way that I can on recordings and in live shows. Sometimes that means "three chords and the truth" to borrow a popular expression in musical conversations. 

I have been self-releasing solo albums since 2011, performing at clubs, coffee shops and other independent music venues that give artists safe spaces for artistic expression.
When possible, I perform at benefit shows where proceeds are given to causes close to me, including breast cancer awareness, autism, hurricane victims, and domestic violence.   

My Team

Since my solo project began in earnest in 2008, I've been fortunate to have opportunities to collaborate with several accomplished musicians and producers who have believed in my musical vision, including Mitch Easter (R.E.M., Wilco, Suzanne Vega), Ted Comerford (Jukebox the Ghost, A Fragile Tomorrow), and other artists who greatly admire and respect.  I have developed relationships with talented musicians who have helped me bring to life some of my songs; often times stemming from a lo-fi acoustic demo and giving them a fuller band sound.

For my past few releases (Surely Late, Vision Hazy, et al), the PR firm Green Light Go (GLG)  has been a constant and dedicated member of my team. As a PR firm, GLG's values and approaches to their collaborations with artists closely align with my deep-seated passion for music. Their ability to connect with fans and relationships with tastemakers in the music industry have been critical to my success with album reviews and other assorted features in music magazines, influential music bloggers and podcasts. GLG has worked tirelessly to promote my new releases, and I intend to build on past successes with them forging ahead with new releases.

For certain songs, I have developed music videos in a narrative voice to complement the recordings, with a goal of connecting with listeners in alternate mediums. I have been very intentional about the cover art that has accompanied my records. As an independent artist, I respect fellow visual artists who work independently, and I want to highlight their work alongside my creative output. For example, in my last suite of singles, I commissioned five artists to provide their visual interpretations of the cover art for each single.

Music Industry in the 21st Century

The music industry is expanding rapidly with many great performers honing their songcraft. Hundreds of thousands of musicians at all levels of recognition are clamoring on a daily basis for attention, whether it's through sync licensing, radio airplay,  podcast discussions, TV coverage, festival performance slots, Spotify playlists, social media engagement, and traditional magazine reviews of new albums.

While it is positive that more people are able to record, produce and distribute music on their own, there is a saturation of the marketplace.  This is an especially challenging environment for solo musicians to reach new listeners on a shoestring budget.

How I Navigate the Music Industry in the 21st Century

My focus in today's music business is writing good songs that my fans will enjoy, and be open to opportunities that arise from building meaningful relationships with curators of music in a collaborative way with my team. Given the environment of the music industry and the complexities of social media, solo artists are required to be more creative when connecting with fans and providing unique experiences to engage them with my art. For example, the commissioned series of cover art for singles mentioned above allowed me to connect with new listeners through fans of the artists work, and allowed my fans to learn about these talented visual artists and their creative process.

Current Business Model

For many musicians, today's music business model is about revenue from streams on social media platforms, which inadequately compensate musicians at every level for their hard work. My focus is tailoring to fans who come to shows, subscribe to my email newsletter, and build a core following that way. The majority of my revenue in the music industry comes from live shows (up front guarantees from venues and merch sales).

Due to the global health pandemic, I was unable to perform and adequately set money aside for more recordings in the near future. There is a glut of people out there trying to recoup expenses and route their tours, which means the frequency of being able to play shows and sell merchandise is different now than pre-pandemic, especially for smaller market artists.
In addition to the financial barriers to professionally record an album, the marketing landscape is different than what it was pre-pandemic. This means that for my recordings to be successful, I need to have expert guidance and partnerships in developing an effective and thorough marketing plan to reach the gatekeepers in the industry, and new listeners.


What I Have Achieved So Far

I would like to put a spotlight on some examples of what I have achieved on my own so far, and collectively with the support of Green Light Go's publicity campaigns.  

-Recorded EPs Surely Late and Vision Hazy with Ted Comerford (Jukebox the Ghost) and Mitch Easter (R.E.M., Wilco, Pavement, Suzanne Vega)

-Recognized by Relix Magazine as an “Artist on the Rise.” Track “Indigo Bunting” featured in Relix Magazine CD comp alongside Jack Johnson and North
Mississippi All Stars w/Special Guest Robert Plant (Led Zeppelin)

-Track “Farragut Square” featured on CD comp in the LOCKN’ Times, distributed at LOCKN’ Festival

-Tracks “Bring A Glass” and "Vision Hazy" featured on Singer Songwriter Cape May compilations

-Track “Very Little” Featured During NPR’s “Morning Edition” as part of DC "Capital Sounds" project

Magnet Magazine, Paste Magazine, The Big Takeover, Relix Magazine, No Depression, Music Meds by Mel, Alchemical Records, Americana Highways, Elmore Magazine, PopDose, PopShifter, Nooga.com’s Notes from Left of the Dial, Independent Clauses, MedleyVille, Wordkrapht, Country Fried Rock, Skope Magazine, The Deli Magazine

-WAMU 88.5 FM (NPR) – Washington, DC
-WNIN (NPR) – Evansville, IN

-WERA 96.7 FM - Arlington, VA

-WSTW 93.7 – Wilmington, DE

College Radio Stations
- KAMP   Univ of Arizona - Tucson, AZ 
-WECS     Eastern Connecticut State University, Willimantic, CT
-WHCC    Holyoke Community College - Holyoke, MA

-WBRS     Brandeis University - Waltham, MA

-WDXU    Duke University - Durham,  NC

-WRSU     Rutgers University - New Brunswick  NJ  

-WMSU    Montclair State University - Montclair, NJ
-WPSC      William Patterson University - Wayne  NJ
-WBJB      Brookdale Community College (public radio) Lincroft NJ

-WPUB     Pace University - New York, NY

-WRPI       Rensselaer Polytechnic Institute - Albany/Troy, NY
-WDWN   Cayuga County Community College - Auburn  NY

-WRUW    Case Western Reserve University - Cleveland, OH 
-WJCU       John Carroll University - University Heights , OH

-WBWC -The Sting  Baldwin Wallace College - Berea, OH

-KPSU      Portland State University - Portland, OR  

-WPPJ      Point Park University - Pittsburgh, PA 

-WRIU      Rhode Island University - Kingston, RI

Podcasts

-Raven Rabbit Ram - Harrisburg, PA
-Hometown Sounds – Washington, DC

-Ink in Stereo – York, PA
-The Radio Alternative – London, UK

-Brutha Voodoo Podcast – London, UK

TV
 
-Good Day PA! - ABC 27, Harrisburg, PA

Touring Markets

I have played in markets including: Baltimore, DC, Arlington, VA, Vienna, VA, Philadelphia, PA, Charlottesville, VA, Lancaster, PA, Harrisburg, PA, Johnson City, TN, New York City, and Wilmington, DE. Standout shows for me have included opening for The Ladybug Transistor at Ottobar in Baltimore, playing the World Café Live at The Queen in Wilmington, DE, and Jammin' Java in Vienna, VA.  

Millennium Music Conference - Harrisburg, PA

Kipona Music & Arts Festival – Harrisburg, PA

Singer-Songwriter Cape May – Cape May, NJ

LAUNCH Music Conference – Lancaster, PA
Tellus3City Music Festival - Lancaster, PA

Alexandria Music Festival – Alexandria, VA

Del Ray Music Festival – Del Ray, VA

Pink Jams! Breast Cancer Awareness Benefit Show – Washington, DC

Sweet Tea Pumpkin Pie Music Festival – Washington, DC

Music Still Happens Here: Volume 1 – Washington, DC

Music Still Happens Here: Volume 2 – Washington, DC

Takoma Porch Festival – Takoma Park, MD
Unzip the Earth Benefit Show - Takoma Park, MD

Main Street Music Festival – Old Ellicott City, MD

Elephant Talk Indie Music Festival – Atlantic City, NJ

Funding  

My goal is to record two albums with top level producers and musicians. Each recording would be given equal promotional time upon completion for maximum effect in the marketplace.
These songs are brand new. I have recorded demos of these, and in some cases, I have already started conversations with musicians and producers about some of these demos to help me refine my vision for these songs.   

I have developed the budget for the project, after consulting with professionals about current rate levels.

Studio Time/Recording - $20,000 (average $800 per day)
Mixing - $10,000 (average 500 per day)
Mastering - $6,000
Guest Musicians - $20,000
Travel and related logistics - $10,000
Meals - $4,000
Lodging - $10,000
Merchandise (Vinyl, CD) - case by case basis  $5,000 - Focus on availability of music and distribution
PR  Campaigns - $20,000
Sync Licensing Campaigns - $15,000

Sub-Total = $120,000
+$30,000 buffer for additional recording and mixing time necessary to complete each album, and PR campaign efforts.   
Grand Total = $150,000

*I understand this is a large buffer to account for, and I want to be clear that I carefully considered the calculations. Sometimes, unexpected things can occur in the studio that require more time and additional takes of parts. I also want to make sure that I can cover the extra time required to attain a high level of quality that these songs deserve.
 For all line items, I expect to document how all of the funds are used.


What Does Winning Look Like? (if it all works out) 

Having this operating budget will give me the best opportunity to enhance my music career in a number of different ways. 

-Being able to realize my vision for this collection of songs I gathered with very talented and creative people
-Grow my audience and overall revenue stream from music sales
-Perform on higher profile stages, and potentially support recording artists on national tours
-Potential for sync licensing in TV/Film, leading to positive financial outcomes
-Produce more high-level pitches to media outlets through targeted PR campaigns, leading to more reviews/features/interviews
-Build on current relationships with gatekeepers in the music industry, and foster new relationships through music
-Generate interest from record label(s) who could further increase distribution and awareness of my music 
-Appearances on influential programs that feature recording artists, such as Austin City Limits, CBS Saturday Sessions, and the Tonight Show
 

In closing, with your financial support and my sweat equity,  funding of this project would maximize the possibilities for my art to reach a larger audience.  
I humbly thank you for your attention to and consideration of my proposal.