Called “the songwriting competition to take note of” by The New York Times, ISC awards more than $150,000 in cash and prizes, shared by 74 winners in 24 categories, including an overall Grand Prize consisting of $25,000 (US) cash, and much more.

Winning ISC is a distinction that has helped many artists go on to achieve greater success. Previous winners have included: Tones and I; Illenium; Vance Joy; Bastille; Fantastic Negrito; R.LUM.R; Gotye; Lindsey Stirling; Kimbra; Dustin Lynch; Faouzia; The Band Perry; Kehlani; Gregory Porter; Passenger; Gin Wigmore; Missy Higgins; For King & Country; Tenille Townes; Adrienne Lenker (Big Thief); Jordan St. Cyr; Tommy Castro; Andrew Bird; Omar Sosa; and many more.

“There are many songwriting competitions in the world, but ISC is the only one whose entrants have the opportunity to have their music heard by a judging panel that includes the top echelon of legendary recording artists/songwriters and high-profile music industry executives,” said Candace Avery, Founder and Director of ISC. “Our judges have consistently told us how much they love listening to the new generation of songwriters and are amazed by the depth of songwriting talent – and we are grateful for their perspective and participation.”

The list of 2022 judges includes:

Recording Artists: Mariah Carey; Gloria Estefan; Coldplay; Tom Waits; Joe Hahn (Linkin Park); Jeremiah Fraites (The Lumineers); Hozier; Trevor Daniel; Brantley Gilbert; James Adam Shelley (Founding Member, American Authors); Tenille Townes; NEEDTOBREATHE; Kristian Bush (Sugarland); Laura Pausini; Ian Felice (The Felice Brothers); Lonnie Liston Smith; Blackbear; Sara Evans; Rosanne Cash; Sidewalk Prophets; Steve Lillywhite; Nancy Wilson (Heart); Krewella; Glen Ballard; ACRAZE; Danilo Perez; Above & Beyond; Chayanne; Sam Feldt; Oumou Sangaré; Jack DeJohnette; Tim Rice-Oxley (Keane); Dave Koz; Sugaray Rayford; James McNally; Jordan St. Cyr; Gordon Goodwin; Chris August; Joe Louis Walker; Ashwin Batish; Carter Burwell; Nicholas Gunn (Limelght); Margaret Cho; and Jimmy Pardo (Comedian)

Industry Judges: Briony Turner (Co-President, Atlantic Records UK); Bruce Iglauer (Founder/President, Alligator Records); Daniel Glass (President/Founder, Glassnote Records); Richard Stumpf (CEO/Founder, Hawkeye Music Group); Ed Vetri (President, Wind-Up Records); David McTiernan (Senior Director, Artist & Label Relations, Vevo); Greg Johnson (VP of A&R, Columbia Records); Golnar Khosrowshahi (President, Reservoir Media Management); Will Speer (Managing Director, Magic Star Records/Sony); Lanre Gaba (Co-President of Black Music, Atlantic Records); Nate Albert (EVP of A&R, Capitol Records); Will McDonald (VP A&R, Elektra Music Group); Kim Buie (VP of A&R, New West Records); Shawn Barron (VP of A&R, Motown); Dan Chalmers (Head Of Music, YouTube, EMEA); Kate Labrel (VP of A&R, Warner Records); Christopher Muller (Global Head of Music Partnerships, YouTube); Jacob Edgar (Founder, Cumbancha); Matt D'Arduini (Sr. VP of A&R /GM, Last Nite Records/Arista Records); Joel Timen (VP of A&R and Publishing, Curb/Word Entertainment); Cory Robbins (Founder/President, Robbins Entertainment); Samantha Jervey (Director A&R, Capitol Christian Music Group); Julie Kertes (Editor/General Manager, Hot Diggity Media); Jacqueline Post (Head of Publishing, Connection Music Publishing); Ben Kramer (Global Lead, Artist and Label Development, YouTube); Leib Ostrow (Founder/CEO, Music For Little People); Katherine Dines (Advisory Board and Magic Penny Award Chair, Children’s Music Network); Claire S. Green (President, Parents' Choice Foundation); Julia Beyer (Director, ARC Music Productions International); Benjamin Groff (President, Brill Building Music Publishing); Tamara Conniff (EVP, Roc Nation Music Publishing); Carl Caprioglio (Founder & CEO, Oglio Entertainment); and Elena Epstein (Director, National Parenting Product Awards)

For more information and to enter, go to: https://www.songwritingcompetition.com

Having just celebrated his 20th birthday, John-Robert arrives in Los Angeles from his hometown, Edinburg, VA, a town of a thousand residents. Signed to Nice Life Recording Company and Warner Records, he worked with Grammy-nominated producer and Nice Life founder Ricky
Reed on his debut. The production touches are subtle, keeping all of the emotional intensity intact.

A music creator since he was nine years old, John-Robert explains that growing up in the Shenandoah Valley was like evolving in a vacuum. “The coolest shit comes out of small towns,” he avows. “A small town was a place to sit with the instruments and learn. But I’m a product of the Internet. My influences came from the artists that I saw and the tutorials that I watched.”

By sharing his covers in online videos, he attracted a substantial cadre of fans plus overtures from the music business. But John-Robert had no intention of being molded into a teen pop star. “Some people tried to modify me,” he confirms. “In response, I ignored the music industry for a bit and concentrated on music production, because I wanted to be more hands-on. Also, if you don’t do your own songwriting, you get handed a lot of awful songs that people want you to sing.”

He devoted himself to studying his craft. “I felt like I had a good voice, and I needed good songs to match it, as pompous as that sounds. No one was going to tell my story as well as me. I need to be on the ground floor.”

He laughs as he relates his early efforts at songwriting. “I was into the Weeknd, so I would sing songs about drugs that I had never tried, which I thought was cool and badass. I wrote about James Bond and Ferris Bueller. Then I learned to write about what I knew, to be earnest and honest with my songwriting, and how I approach it. And to be vulnerable and admitting to stuff in the songs. People started respecting that. The more vulnerable you are, the more rewarding [it is]. Somebody told me that I had put into words what they couldn’t express. Listeners can make their own connections.”

Open guitar tunings and a technique of capoing select strings while leaving the others open are chordal elements underpinning John-Robert’s distinctive sound. “My hometown friend, Tim,
showed me that capo technique. Then I found the tuning for my song "Urs" that was mysterious, with disturbing undertones to it, but sounding fine and beautiful.”

He credits additional friends in Richmond, VA, for introducing him to “math rock,” a sub-genre built around open tunings. “The rule is that you strum open tunings, and if it sounds pretty, you are ready to write a math-rock tune. When you’re in a new tuning there is a whole sense of discovery.” His songs are accompanied by videos, with John-Robert complicit in imagining their creative content. “I wanted to make sure that there was no one in the music videos except for me. And that we have weird circumstances like me being pestered by a spotlight, or me being alone in a torture cell, or being harassed by a pelican.”

Yes, a pelican. This feathered flyer––rendered in glorious papier-mâché––is the namesake of John-Robert’s song, “Pelican.” He says that requesting this prop was a test of his power. “The pelican was proof that I did have creative control.”

With his debut EP, John-Robert has configured a setlist that will retain full impact when he performs the songs solo. “Making sure that production isn’t doing the heavy lifting,” he clarifies, “Establishing that being the singer-songwriter comes first. With future projects, I will be able to use weirder production techniques. I had to calm down for this first release.”

Szabo’s most recent artist project, Back Where We Started: Remix Diary, is composed of previously released singles reimagined by a cast of remixers. “I’ve had my versions out there, but the reason I love remixes is that they bring in different styles, typically on the dance-EDM-electronic side, which can be great for clubs,” she says.

Having recorded feature vocals and written toplines for numerous EDM projects, Szabo shares history with these sonic collaborators. She introduced herself to Andy Jarvis when she discovered his work on a track with Ed Sheeran, featuring Camila Cabello and Cardi B. “I took a shot and Instagrammed him, told him I loved his stuff, and said that I’d like to collaborate.”

While Szabo envisions future full-lengths, she says that singles allow for deep concentration. “It’s nice to focus on one song at a time,” she clarifies. “With an album, you have to pick your favorites. With singles, you can really devote all of your attention to each track.”

Originally from Dundas, Ontario, Szabo visted Nashville for a songwriter retreat when she was 15 and was captivated by the city’s song-intensive aura. After graduating high school, she returned. “I was by myself, and it took me 14 hours to drive there. Because I had been there before, there was that familiarity.”

After a year and a half, she signed to a label in Canada and learned about the business side of music. With an album to her credit, Szabo wanted to expand her artistic reach. She severed ties with the record company and headed to the West Coast. “I love where I’m from,” she says of Canada. “There are values and an outlook I wouldn’t have otherwise. But for music, LA is definitely the place that I need to be.”

As a collaborator, Szabo says that melody is her strong suit. While her remix release is invested with deep grooves and electronic signatures, her songs are also affective in stripped down versions. “That’s why it was an easy transition from organic pop to more electronica,”she says. “Only the production changes. All my collaborations in the electronic world come from me playing guitar or piano.”

Her song “Don’t Give Up” has become an anthem for the transgender community. Szabo performs it at Pride festivals and other events along with The Trans Chorus of Los Angeles. “Coming from a small town, I was in a bubble,” Szabo recalls. “I became involved with LGBTQ advocacy, which came from having a lot of friends in that community. The homeless rate—especially for trans youth—is shocking. I got connected to the Trans Chorus and we’ve done probably 30 performances together. They are like family to me now.”

Multiple sync uses for her songs for shows on Netflix, Disney, ABC, E!, TV Land and other networks provide economic viability. “Writing for sync and writing my stuff are two different things. I will stockpile a lot of music, or if a show requires a specific type of song, I will always write for that. There are so many more productions now, and you can have a song that plays constantly for three years.”

Maggie Szabo says that songs only connect when they are drawn from true experiences. “It is always interesting writing with people you’ve never met before. You introduce yourself, and start laying your whole life down. You have to get past vulnerability being an embarrassment. In the songwriting community you have to not care—it’s normal.”

Only a couple of years ago this Australian singer and songwriter was living in her van and busking on the streets of Byron Bay. Prior to "Dance Monkey," Toni Watson (aka Tones And I) was an indie artist struggling to get her voice heard.

In 2019, Watson made history when she became the first artist to spend 24 weeks at #1 on the ARIA singles charts with her global smash "Dance Monkey," which she says took her only a little more than 30 minutes to write. Since its release in May 2019, the hit single has reached #1 in 30 countries, amassed more than six billion streams, held the #1 spot for the most-streamed song internationally for four months (and counting), became the most Shazamed song of all time, and is now the longest ever running #1 song on the Spotify global charts. She made her US television debut in November 2019 on The Tonight Show with Jimmy Fallon (her performance has generated over 80 million views on YouTube to date) and released her six-song EP The Kids Are Coming. The accolades, awards, and popular love for this song have vaulted Tones And I to the global stage.

Congratulations to Tones And I!

Here is the list of other winners and finalists.

“Up” has turned out to be a fitting name for Sena Kana’s history-making debut single.

The Tokyo-born singer and multi-instrumentalist officially released “Up” last March, and since then, the song has shot up the charts, making Sena Kana the first female Japanese artist to reach Gold status since Yoko Ono.

“Up” is a piano-driven track featuring rapper, Wiz Khalifa, and Australian indie-pop band, Sheppard. With hints of pop, hip-hop, and electronica, the song finds Sena Kana breaking boundaries between styles while delivering an uplifting message. The song has amassed over 85 million streams in the U.S, while the video has over 53 million views. The song’s remix has also been climbing the Billboard dance charts.

Kana's passion for music began at an early age when she was drawn to the songs and stories in musicals like Mary Poppins and The Sound of Music. Despite the language barriers, she was transfixed by the stories and sounds. Inspired and invigorated, she spent her school days deeply involved in both music and the stage.

Giving others peace and joy through song was the motivation for Kana to further pursue her dreams. At a music academy, she majored in vocal music, where she studied classic fundamental music techniques and learned songs such as Mozart’s “Don Giovanni” and “The Marriage of Figaro.”

Kana continues to hone her craft by diving into new sounds and new melodies while remaining open to taking new directions. With the release of “Up,” it’s clear that she is headed in the direction that the song’s name implies.

“I just hope that my music makes each and every person listening feel a sense of warmth,” shares Kana. “I’m most energized when I know my songs are bringing people joy.”

“Billie and FINNEAS have written an incredibly powerful and moving song for No Time To Die, which has been impeccably crafted to work within the emotional story of the film,” said Michael G. Wilson and Barbara Broccoli, the producers of No Time To Die.

“There are a chosen few who record a Bond theme. I am a huge fan of Billie and FINNEAS.  Their creative integrity and talent are second to none and I cannot wait for audiences to hear what they’ve brought – a fresh new perspective whose vocals will echo for generations to come,” said director Cary Joji Fukunaga.

“It feels crazy to be a part of this in every way," Eilish said. “To be able to score the theme song to a film that is part of such a legendary series is a huge honor. James Bond is the coolest film franchise ever to exist. I’m still in shock”.

FINNEAS adds. “Writing the theme song for a Bond film is something we’ve been dreaming about doing our entire lives. There is no more iconic pairing of music and cinema than the likes of Goldfinger and Live and Let Die. We feel so so lucky to play a small role in such a legendary franchise, long live 007.”

Listen to No Time To Die HERE.

The acquisition includes works from a majority of the artists signed to Gasoline Alley such as the ska-punk band, Sublime. Founded in 1988, Sublime rose to fame in the mid-90s. The band released two albums in the early 90s, ultimately finding mainstream success with their self-titled release in 1996. With numerous chart-topping alternative radio hits, they went on to sell millions of albums, making them one of the most popular ska-punk bands in history. Several of their major hits such as "Santeria," "Badfish," "Wrong Way," and "Doin' Time" were included in the deal.

In addition to multiple songs from Sublime, the deal also includes the hit R&B song "If I Ever Fall In Love" from the multi-platinum selling group, Shai. Released in 1992 as the first single from the four-man urban contemporary vocal group's debut album of the same name, "If I Ever Fall In Love" shot to #2 in the U.S. and went on to sale over four million copies.

About Primary Wave: 

With just three employees in 2006, Primary Wave has grown to a company of 70+ employees today, with offices in New York, Los Angeles, London, Nashville, and Austin. With a team of the industry's finest executives, Primary Wave is consistently growing and looking towards the future, focusing on integrating all aspects of creative acts.

Visit fervormusicbizsummit.com to register.

The 2020 Panels Include:

Keynote: Fall Down Seven Times, Stand Up Eight
Don't let the frustrations of the music biz get you down. Fervor execs David Hilker & Jeff Freundlich discuss perseverance and how to forge your path in independent music.

What The Hell Is Music Clearance And Why Does It Matter?
Learn the nuances of music clearance for film, television, advertising, sampling and more! If you want your music in these mediums you must know what's required.

Build Your Marketing Toolbox: Getting Ready for a Career in the Music Industry
Whether you’re interested in being a publicist, manager or label owner, you need to understand the fundamentals of marketing in order to have a lasting career in the music industry. Understand the tools needed to promote up-and-coming artists in today’s ever-changing landscape. 

Breaking Through: The Incredible Success Story of Carly Paige
What does it take to get a publishing deal, chart on Billboard, get millions of spins on Spotify, and make records and music videos in LA? The Valley's own Carly Paige gives you insights on her incredible journey.

Music Supervision Roundtable
Why do we have a music supervision panel every year at MBS? Because music in film and television is a great way to grow your audience and earn income. Learn from the best as they explain their creative process, how they find music and how to approach them!

The 2 Minute Drill
Ask any experts anything you like!!!

The 2020 Fervor MBS Panelists include:

Suzi Barry
Sr. Director, Clearance Operations, EMG, Los Angeles
Otto D'Agnolo
Producer, Engineer, Radio Host, Phoenix
Lauren Fay
Owner, Music Supervisor, Lost and Sound, Los Angeles
Jeff Freundlich
COO, Fervor Records, Phoenix
Andy Gowan
Partner, Music Supervisor, Metalman Media, Los Angeles
David Hilker
CEO, Fervor Records, Phoenix
Matt Lilley
Owner/Founder MCL Music Service, Los Angeles
Carly Paige
Singer, Songwriter, Recording Artist, 3rd & Verse, Los Angeles
Whitney Pilzer
Director, TV Music, Lionsgate/Starz, Los Angeles
Hunter Scott
Head Of Marketing & Publicity, TREND, Los Angeles
Christy Spencer
VP Publishing & Administration, Fervor Records, Salem, OR
Gregory Sweeney 
Freelance Music Supervisor, Los Angeles

This year's gathering featured the presentation of the President's Merit Award to Dr. Dre, recognizing both his commitment to creative and sonic excellence and his ongoing support for the art and craft of recorded music. The six-time GRAMMY-winning artist is now added to the decade-plus list of honorees chosen for their singular contributions to music production, including, among others: Quincy Jones, Alicia Keys, Willie Nelson, Nile Rodgers, Rick Rubin, Al Schmitt, Swizz Beatz, T Bone Burnett, Neil Young and Jack White. The event also acknowledges the overall industry contributions of the Producers & Engineers Wing's more than 6,000 members.

Music industry luminaries and GRAMMY nominees and winners packed this star-studded evening, including Marcella Araica, Peter Asher, Joe Chiccarelli, Mike Clink, Bootsy Collins, Jimmy Douglass, Dave Haywood (Lady Antebellum), Ross Hogarth, Leslie Ann Jones, Quincy Jones, Emily Lazar, Lisa Loeb, Chris Lord-Alge, Gavin Lurssen, CJ Vanston and a host of others.

Recording Academy P&E Wing Managing Director Maureen Droney speaks onstage during the Producers & Engineers Wing 13th annual GRAMMY week event honoring Dre. Dre at Village Studios on January 22, 2020 in Los Angeles, California. (Photo by Rich Fury/Getty Images for The Recording Academy )

Village Studios CEO Jeff Greenberg began the program by welcoming attendees, after which Maureen Droney, Recording Academy Sr. Managing Director, Producers & Engineers Wing, offered remarks on the event and thanked the evening's sponsors. P&E Wing Steering Committee Co-Chair Ivan Barias highlighted the accomplishments of the P&E Wing and its members. Interim Recording Academy President & CEO Harvey Mason Jr. introduced previous P&E Wing honoree Jimmy Iovine, a famous longtime business partner and close friend of Dr. Dre. Iovine spoke on Dre's work ethic and accomplishments and hugged his friend as he took the stage to accept the award from Mason.

Iovine's remarks went all the way back to his first impressions of Dre as an artist, decades ago: "I knew one thing: this music doesn't sound like anything else." He reflected further on their close relationship in the years since: "There's only one thing he does better than producing records, and that’s being a friend and a partner."

Dr. Dre remarked, "I'd like to thank the Recording Academy for bestowing this honor upon me but more importantly, highlighting producers and engineers, which is extremely big to me. There are more than 6,000 members who are committed at the highest level of creativity and technical ability, and it’s an honor to be included in that group."

Dre then introduced Anderson .Paak, who is signed to Dre's Aftermath Entertainment, who delivered a 20-minute powerhouse set with his band the Free Nationals to top off the night.

Anderson .Paak performs onstage during the Producers & Engineers Wing 13th annual GRAMMY week event honoring Dr. Dre at Village Studios on January 22, 2020 in Los Angeles, California. (Photo by Rich Fury/Getty Images for The Recording Academy )

The event was sponsored by leading companies and organizations from the entertainment and music sector. Iron Mountain Entertainment Services served as Premier Sponsor for the event. Iron Mountain's involvement is an extension of its ongoing year-round partnership with the P&E Wing. Other industry supporters of the gala evening included Amazon Music HD; Jaxsta and Shure; Music Marketing (represented brands: Celemony, FabFilter, NUGEN Audio); L-Acoustics; Audio-Technica U.S.; Fraunhofer USA; SoundExchange; iZotope; AFM & SAG-AFTRA Intellectual Property Rights Distribution Fund; Lurssen Mastering; Roland Corporation U.S.; Genelec; and the Arthur J. Gallagher Risk Management Services' The Recording Studio Insurance Program.

In addition, SESAC affiliate Shawn Stockman of Boyz II Men joined GRAMMY host Alicia Keys for a moving performance of “It’s So Hard to Say Goodbye to Yesterday” to pay tribute to Kobe Bryant. The group performed later with Tyler, the Creator. In another touching moment, SESAC affiliate YG performed with John Legend, DJ Khaled, Meek Mill, Kirk Franklin and Roddy Ricch to honor the late Nipsey Hussle.

To kick off the weekend events, SESAC hosted a Grammy Toast at the Four Seasons in Beverly Hills honoring its songwriters and artists who contributed to this year’s most-celebrated musical works.

Affiliates were represented in nominations for a dynamic range of genres including Rock, Country, Latin, Contemporary Christian, and R&B among others.

SESAC winners:

Best R&B Song
PJ Morton
“Say So” recorded by PJ Morton feat. JoJo

Best Contemporary Christian Music Performance/Song
Tedd Tjornhom
“God Only Knows” recorded by for KING & COUNTRY and Dolly Parton

Best Rap Song
Dacoury Natche (DJ Dahi)
“a lot” recorded by 21 Savage feat. J. Cole