Updated: Sep 26, 2021
This past week, Atlanta Film and TV interviewed singer, songwriter, and guitarist Kameron
Corvet. Kameron “has traveled the world with his guitar as a solo/acoustic act, with the likes of Adele, Chaka Khan, Marsha Ambrosius, Bilal, Dwele, Tamia, and countless others.”
Atlanta Film and TV: How did you end up composing and writing for Sting and Shaggy?
It began with a song I wrote, and I collaborated with creatives I knew within the music industry, one of whom had a relationship with Shaggy. He heard the song and loved it. Shaggy ended up in Los Angeles doing a reggae feature on another artist, orchestrated through Sting's manager. While on a break during the session, Shaggy played the demo for Sting’s Manager, and that is when Sting's manager thought it would be a perfect addition to the song. Afterward, his manager sent the song to Sting, and they began adding their elements so it would be complete.
Atlanta Film and TV: Some artists rush to get signed by a record label. Why have you remained independent? How can an artist leverage their behavior for independence to
expand their reach?
Kameron Corvet: There are many factors as to why I remained an independent artist. It's not to say I have not entertained the idea of pursuing a major record label. Everyone will not view your vision the same way as you. The business of music is something that for years has become less and less about talent. But, more about miscellaneous factors that do not go well for an artist desiring a long career in the music industry. I have gotten reactions such as, Oh, my God! You’re super talented! We can swing you in this direction!” Or, “He is super talented. But, we don't know what to do with him!" When I heard those comments, I decided to craft a narrative for people who understood who I was. I have never been anti-label but, discovered labels aren’t always right. However, I do not want them to do any wrong at my expense.
To answer the last part of the question, some indie artists can expand their reach by collaborating. Artists can also be innovative about how they choose to present their talent to the masses. They should focus on their craft by making great music and not concerning themselves with their peers. Lastly, they should reach inwardly to pull the best of themselves and their talent out for the world to see.
Atlanta Film and TV: How have you managed to keep such an original sound? Do you ever feel pressure to adopt a more mainstream sound?
Kameron Corvet: There is always the pressure of adopting whatever the flavor of the month. It usually comes from people who only look at existing numbers. However, the overall goal of an artist is to have a long-lasting career. The artists have a specific type of sound they’ve curated, which doesn’t happen overnight. Most labels aren’t interested in making a long-term investment in artists. What they’re looking for is something that’s already making waves in the marketplace. The concept of mainstream depends on whether you have a lot of views or plays. All the fluff added is based on what the sonic fad is at the moment. I’m big on making sure the guitar is the central element in what I am doing, so at any point, I can strip the digital elements away from the music. It can be just me, the guitar, and the audience. I feel like my sound is always going to be relevant.
Atlanta Film and TV: How can aspiring songwriters market themselves while protecting their intellectual property?
Kameron Corvet: It is easier in today's market to track your music than in the past. You should, however, be wise about who you trust with your materials and be sure what you create is protected.
In the past, I would pay $35 to register the music I created with the Library of Congress because sometimes, it is difficult to establish ownership. You can send an email to yourself, with an mp3 attached. Doing this would be the same as back in the day, where you create either a tape or a CD, mail it to yourself, and not open it. So it could have an official government postmark, which would indicate the date created. A lot of times, you can establish the date encrypted into a file. As far as intellectual property, copyright what you create. And be sure to have a record of what you send. But, also be sure to blind copy yourself.
I believe the heavy lifting is by meeting people face-to-face to have quality conversations, which will ensure the people you encounter have the access they say they do before you send songs to them. A lot of early parts of songwriting include taking a shot in the dark and seeing what happens. I do not want to discourage people from taking opportunities. But, if you have personal materials, create more songs. The more you create the more opportunities you have for people to hear what you have created. And, you can tell when someone has copied something of yours.
Atlanta Film and TV: Can you tell us what’s next for you and how artists can connect with you?
Kameron Corvet: I’ve been working on an acoustic-based project and want to be sure there’s a line of connection between how people experience my recorded music and my live performance. The connection between a recorded experience and the live experience is key. In the past, there have been a lot of opportunities I’ve had being an acoustic-based artist. I’ve opened for artists such as Chaka Khan, Adele, and Robert Glasper. Afterward, people wanted to purchase my products. But, you always wonder if they’ll like the product? I ask this because those wanting your products just finished watching me play live for 45 minutes. But, once they purchase a CD and realize the songs are interpreted differently. And, they will not enjoy the recorded music as much. But, for me, it’s important to be sure that there is a connection between how I’m presenting my music to a live audience and how they experience a recorded project. My day-to-day activities include songwriting for other artists.