My name is Paul, and in the 10 years that I was releasing music (primarily as my indie-folk project, Canyon City) my music had amassed over 360 million streams (totaling into 7 figures of royalty revenue), 100k Spotify followers, and both major network and countless micro-usage sync licenses (totaling into 6 figures of sync licensing revenue).

I have self-booked U.S. and European tours, performed in Carnegie Hall, SXSW, and the Folk Alliance International Conference. I have written and produced hundreds of songs, and though I have been privileged to record in stunning professional environments (including world-class studios in my former home-town of Nashville, as well as the iconic Abbey Road Studio complex in London) the vast majority of my music was self-produced in home-studios and portable recording rigs (in fact, one of my most successful EP’s, which included a cover song that was used in the pilot of a major NBC series, was recorded on a now antiquated 11-inch MacBook Air and a budget microphone in the living room of my former studio apartment). I started my career by releasing music entirely independently, which blossomed into a season in which my music was reaching over 2 million monthly listeners (this indie-success story was even featured in Fortune). Starting in 2019 I released music through both an independent and a major label, and, as lucky as I was to work with some respected professionals, I quickly had the sobering realization that these labels had no “magic button”. In fact, these organizations largely employed the exact same tools and techniques that I was already using and that are widely available to independent and self-represented artists.

I believe it’s true that now more than ever artists have unprecedented tools to create creative career paths that honor the uniqueness of their art and foster the connection of their audience.

Unfortunately it’s also true that too often in our industry people (and businesses) try to place themselves between artists and their hard earned royalties, agency and audiences.

I want to help people build support systems that enable their artistic vision while also empowering them to successfully navigate around the industry’s pitfalls (many of which I’ve discovered by falling into, and climbing out of, myself).

I hope to make myself a useful guide of the ever-shifting landscape of this creative industry. Lets have a conversation about your music, where you want it to go, and how you might get there.