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How to Write a Hit Song: 4 Established Artists Share Their Insights

Featuring Lewis CanCut, Emily Turner, Anthony Schmidt and Justin Humphries.

By Magesh MageshContributing Author

Back in the day, a song was called a 'hit' if it was in the top 20 countdown on the radio. As times have changed so has the definition of the word'hit'.

In my opinion there a many ways a song can be successful today that have nothing to do with being played on the radio. Having over 500k views on YouTube, getting signed to a publishing company, and writing for a well-known brand or a major pop star are also elements that make a song a hit song.

I spoke to 4 artists who have written hit songs and asked what their process was.

Lewis CanCut

Lewis CanCut is one of Melbourne's most prolific electronic music producers. Since his debut EP, ‘Neon Saxophone’ in 2010, Lewis has gone on to release music through such labels as NLV Records, Enchufada, Shh Secret Songs, Activia Benz, Main Course, and Mad Decent.

His biggest commercial success was co-writing the music for Jennifer Lopez's single “Booty" featuring Iggy Azealia - the video for which has attracted over 170 million views.

You co-wrote a hit song for pop star Jennifer Lopez which featured Iggy Azealia, can you talk about how this opportunity came about?

I had been producing music with a friend of mine, Swick for a few years. We had been releasing underground club music through various small labels, which naturally involved sending lots of demos and club tools to different label owners and DJs.

Diplo was a big fan of Swick's work already, and so the three of us plus TT The Artist co-wrote a track called Dat-A-Freak, which later on Diplo later played to Jennifer Lopez in a studio session as a potential idea for her next single. It just happened quite unexpectedly like that.

Did you write different chord progressions or come up with beats first to create this hit song?

Each day I would drive over to Swick's house at about midday. He had a studio out the back and we'd then work until around 9 pm.

This one day I walked in and he already had a huge drum pattern going. I could hear it already while walking up the driveway. Without thinking too much about it I played the keyboard parts over the top and it all came together super quick.

After that it was just sitting for months among dozens of other demos we'd play in the car. We knew it needed vocals but weren' cvt quite sure what until Diplo took an interest.

Can you talk about the process of how you write music?

My process is to initially write lots and lots of music. Usually, I have a rough feeling of what I'm going for with any given project, mostly in terms of the implied space. Maybe I want it to feel like a medieval dungeon or a futuristic department store.

Writing lots and lots of demos gives me the freedom to experiment in the beginning without worrying about it sounding professional. Then at some point, I'll stop, pick the best tracks and really focus on refining their arrangements and production until it feels done.

Going back to the implied locations within music, I spend loads of time figuring out what kind of reverbs, delays, and tonal balance to use, so that the space of each track sounds totally cohesive; as if it were a miniature world with its own sense of gravity, weather patterns etc. That's important to me.

Do you think musicians need to know a lot of music theory and how to read music to write a hit song?

I don't think you need to know theory to write pop music, but I strongly believe that you need a kind of creative tool kit. Some of these tools may be music theory, but other tools will just be simple tricks you can collect as you go.

These might include just knowing what kinds of synth voices complement each other, or how to coach a singer in the studio in order to get a particular sound. The more music you make, the more of these you pick up and the easier it becomes to solve problems as you're writing and arranging.

Make lots and lots and lots of music but just release a little, and then you will be able to figure out what motivates you and where your sound differs from others.

Do you rely on samples and loops when writing electronic music?

Generally, I program drums using one-shot samples. Loops and longer samples I find difficult as they tend to bring a lot of external feelings into the track. Again with the sense of space, I find that loops often have reverb already, which will clash with what I'm trying to do.

For all the melodic parts such as chords, basses, and leads I use synths and write my own patches. Having the capacity to create whatever sound is needed to fill out an arrangement is hugely powerful. It can be like having an orchestra in the room.

Also, I think it's really useful to play keyboard parts live rather than programming via MIDI, as you tend to get strange little wobbles and variations which make a huge difference to the end result. At the moment I'm using the Black Corporation Kijimi a lot; it has a slightly strange but beautiful organ-ish tone to it.

So much music is released every day all over the world, what can people do to make their songs stand out in a very crowded marketplace?

Make lots and lots and lots of music but just release a little, and then you will be able to figure out what motivates you and where your sound differs from others.

I also still think there's huge value in working with a good record label, as they will help you package what you do in a way that stands out. For almost ten years I've been working with NLV Records and they've helped me a lot with that side of being an artist.

Also as one last thing, listen to ALL kinds of music from all times periods, and places! The more influences you absorb, the less likely you are to sound like everyone else. You can also start your own thing with friends, whether it's a record label, a radio show, a podcast, whatever. That way you're not waiting around for others to notice your work!

Connect With Lewis CanCut
Website / Instagram

Emily Turner

Emily Turner is a talented singer/songwriter from Australia. She co-wrote a hit song with Maree Wilson which achieved Gold Sales.

You co-wrote a song years ago that became a hit for a popular Australian country artist, how did this opportunity come about?

Funny Story! I had just moved to Sydney and my new housemates who were both professional songwriters were about to go on a songwriter’s retreat with Warner Chappell (their song publishing company ). There was a spot left, and my friend convinced the boss to let me come, his exact words were “She better deliver.” I was terrified!

I ended up writing a song with an artist by the name of Maree Wilson. It went gold in Australia. It was the only song published from that retreat. It landed me my first song publishing deal.

A lot of bands start with a guitar riff when writing a song, was this the case with the song you co-wrote?

It was! Ordinarily, I start with the lyric or melody or both, but in this case, she was a guitar player and that’s how she wrote, so I just went with it. stylistically, we were very different, but it worked.

She was country rock and I come from a jazz-soul background. Somehow we came up with a cool bluey catchy song..

Don’t stop writing, write every day, right morning pages write all the rubbish that’s in your head on paper. Write the bad songs it’s like mining for gold you gotta dig through a lot of dirt to get to the nuggets no different.

Writing this song helped you get a publishing deal with Universal Music, can you talk a little about this?

As mentioned earlier this song, absolutely sealed the deal on my first publishing deal, which was with Warner/ Chapell Music Publishing.

Do you think musicians need to know a lot of music theory and how to read music to write a hit song?

Not necessarily if they get together with a good musician, and I have good lyrical ideas, and they have a good foundation of understanding song form. It can go a long way.

A book that is highly recommended is the craft of lyric writing by Shelia Davis. The book itself is about 40 years old, but it teaches you everything you need to know about hooks, lyrical tone, and to put it all together.

Write a song because you’ve got something to say, not because you want to write a hit. Enjoy the process, if you don’t enjoy it, the listener won’t either.

How can someone improve their ability to write lyrics?

Don’t stop writing, write every day, right morning pages write all the rubbish that’s in your head on paper.

Write the bad songs it’s like mining for gold you gotta dig through a lot of dirt to get to the nuggets no different.

So much music is released every day all over the world, what can people do to make their songs stand out in a very crowded marketplace?

Be as authentic as possible, feel the uncomfortable feelings, get real with yourself. Be Specific! don’t just say, “I love you, “ what does that look like? Feel like? It needs to be universal and make people feel.

You don’t have a lot of words to get to the point. Write a song because you’ve got something to say, not because you want to write a hit. Enjoy the process, if you don’t enjoy it, the listener won’t either.

We all want to feel connected to one another.

Connect With Emily Turner
Instagram

Anthony Schmidt - Gen2

Renowned for the quality and energy of their live performances, Gen2 has gained a reputation as one of Australia’s most dynamic and exciting live rock acts.

Gen2 are also rapidly gaining an enviable reputation as original recording artists. Following the success of their debut release ‘Fire of Love’ in 2022, Gen2 signed with Golden Robot Records’ X-Ray Records label.

The band’s first single on X-Ray Records - a reimagining of Lorde’s 2013 global smash hit ‘Royals’ - is already receiving widespread critical acclaim and is being added to playlists across the globe.

I spoke to guitarist Anthony Shmidt about their hit song and writing process.

Your single 'Fire of Love' received over 560k views on YouTube, which is an incredible achievement.  What factors do you feel led to this amount of views?

Thanks, Magesh… we’re very proud of those numbers, especially considering that ‘Fire of Love’ was our first single and first video, and we released it independently. It certainly opened some doors for us, including our first distribution deal and our subsequent record deal with 37 South Records.

In terms of achieving those numbers, I guess really comes down to a couple of things: Firstly, I think you have to have good material, and you have to believe in the material. While it might come across as egotistical, we do believe that ‘Fire of Love’ is a quality ‘strong’ song, that’s performed well, recorded well, and produced well. Indeed, we all feel that way about all of the songs on ‘Future History Repeating’ – they’re all strong songs, and the album is produced well. And again, while on the surface that might seem to be a hugely egotistical thing to say, when it comes to performing, you need to believe that you are genuinely delivering your best. Punters have a very finely attuned ‘BS Meter’, and if you don’t believe in what you’re doing or you’re just ‘dialing it in’ in terms of performance, it shows. And punters will call you out on it. They need to feel that you’re feeling it – no matter what the style or genre, you can’t fake a good performance. That’s why we do so much pre-production. The songs need to be right and they need to be tight. Whatever we’re working on, our goal is always ‘all killer—no filler’, and believe me, when it comes to this album, we have thrown out much more than we’ve kept!

Secondly, there’s the promotion. Millions of pieces of music are being released every year, so you can’t just sit back and hope people find you. You need to chase your audience and make sure they can find you. You need to make sure you can cut through the noise. It’s hard work and can be expensive, but it is worth it.

Finally, there is a little bit of luck involved. If you’ve got a good product (both in terms of songs and performance) and the ‘right’ person hears what you’re doing or sees your clip and likes it, that can really help too. It’s another reason why promotion is so important. That said, we’ve always found that the harder we work and the more relentless we are, the ‘luckier’ we get!

A lot of bands start with a guitar riff when writing a song, was this the case with 'Fire of Love'?

While we don’t have a set formula for songwriting, many of our songs - including 'Fire of Love' generally start out as guitar riffs. That’s probably because we’re a very guitar-oriented band, with Claudio Ferrante and I both play lead and rhythm, and our bass player Zac Rufus also being quite an accomplished guitarist in his own right.

The music for ‘Fire of Love´ was written by Zac. It was the first song that he brought to Gen2. He put the music together on his iPad while he was on vacation on Kangaroo Island (how Aussie is that!) and brought it to the band as a pretty much-completed piece. We then worked it up in the studio together as a band, added the lyrics and lead break, and made a a couple of very minor production modifications, and that was it.

Is there a lot of input from the band when coming up with a new song?

Again, we don’t have a set formula for songwriting, so Gen2 songs can ‘start their life’ in a range of ways. Some start with one of us kicking in a riff, some start off as a bass line, some come in as completed arrangements, and some even start off as a jam in the studio while we’re warming up.

That’s one of the things we all love about being in Gen2. Even though the band comprises two generations (hence the name), we just click, and when something kicks off, we’re usually all on board fairly quickly to start developing and refining new material. Everybody, including our drummer Greg Daye, plays a critical role in how the songs come together.

Whether it’s refining riffs, tweaking arrangements, or working out lyrics, vocal melodies and harmonies, it is a team effort, and I think that shows in the finished product.

Do you think musicians need to know a lot of music theory and how to read music to write a hit song?

In a word, no… you don’t HAVE TO know a lot of theory or how to read music, but there are NO SHORTCUTS to writing or performance.

For example, Zac and Claude both studied and have their Bachelor of Music qualifications and both are qualified to teach. They are both extremely talented musicians and performers (and yes, there is a difference) and they know their stuff in terms of composing music. Neither Greg nor I have any formal music qualifications. I can’t even sight-read—I can fumble my way through, but I tend to play by ear. That said, I feel confident that my lack of formal training or inability to sight-read has never really held me back in my career, and the same goes for Greg.

When it comes to writing songs, I honestly believe it all comes down to feeling: thinking about what you’re playing; listening to what you’re doing; and being honest enough with yourself to know if it sounds good and feels right or whether you’ve just taken a shortcut to ‘finish what you’re doing’. It’s part of your overall musicality and the same rules apply. There are no shortcuts. Whether through formal studies or just ‘good old-fashioned practice,’ you should always try to expand your knowledge and capabilities.

Listen to others, see what they’re doing, look at classic, enduring songs, and try to work out what makes them ‘enduring’. Move between music genres, and develop your skills, which (surprise, surprise) usually involves lots of practice! And when you’re writing, don’t use a formula – always write what feels right to you!

Always focus on quality. It doesn’t matter what genre of music you are, how old you are, what equipment you have, whether you record your music at home or in a full professional studio, DON’T EVER CUT CORNERS

How can someone improve their ability to write lyrics?

That’s a tough one. Sometimes, I think lyrics can be more challenging than music. Perhaps it’s because more people tend to have a wider understanding of spoken language than music, and that means that they’re generally infinitely more likely to call out ‘poorly written lyrics’ than poorly constructed piece of music.

That said, I believe the key to writing lyrics is to read as much as you can from as many authors and across as many genres as possible. From the classics, through to poetry, novels, non-fiction, you name it. You can even watch your TV with the subtitles on. The more words, sentences and stanzas that you have running through your head, the better. It all helps.

It’s a bit like practicing your instrument… you’re training the language centers in your brain, and that, in turn, will improve the quality of the output. So much music is released every day, all over the world.

What can people do to make their songs stand out in a very crowded marketplace?

That’s another tough one. Nothing is guaranteed, but speaking from my own experience with Gen2, I think there are some things that you can do to boost your chances:

Firstly, always focus on quality. It doesn’t matter what genre of music you are, how old you are, what equipment you have, whether you record your music at home or in a full professional studio, DON’T EVER CUT CORNERS! Once you release something, it’s out there forever. Make it as good as it can be. Again, punters have a very finely attuned BS-Meter, and they know when you’re not giving it your all.

Secondly, promote yourself. You don’t need a huge budget, but you do need to put in the hard yards. Whether it’s on socials, in person, or via traditional media, if you want to succeed, DON’T BE SHY! There’s a lot of ‘noise’ and you need to cut through.

Finally, always be gracious and grateful. People have a lot to choose from, and if they choose to listen to (and hopefully purchase) your music or merch, or come to your shows, make sure you treat them with respect. Perform at your best and always deliver – after all, these are the people who are paying you, that makes them your bosses. They’re spending their hard-earned on your products, so make sure they get maximum value. The same goes for media, if you’re offered an interview or appearance, turn up on time and always be gracious and grateful. After all, there are a million other performers for them to choose from, so don’t blow it!

Connect With Anthony Schmidt
Golden Robot Records / Facebook / Instagram

Justin Humphries - Phoenix Sound Studios

Justin Humphries is a talented multi-instrumentalist and producer. He has worked with many of Australia's top artists. Justin is currently producing various projects from his own recording studio.

You have written songs for big brands like the Commonwealth Bank and the Victorian government, is it hard to get into the right circles for writing for these companies?

Getting into the right circles for writing for big brands like the Commonwealth Bank and the Victorian government can be challenging, but it's not impossible. Networking plays a crucial role, and building relationships with marketing agencies, advertising firms, or directly with the brands themselves is key.

It often involves showcasing your portfolio, attending industry events, and continuously refining your craft to meet the standards of these clients. Word of mouth is also very important.

Did you have to write music with a specific brief in mind or visual images given to you by the brands?

Yes, writing music for corporate clients typically involves working with a specific brief provided by the brand or its advertising agency. This brief may include details about the target audience, the intended message or theme of the campaign, and any specific requirements such as tempo, mood, or instrumentation.

Sometimes, visual images or storyboards are provided to help guide the creative process and ensure that the music aligns with the overall vision of the project.

Can you talk about the process of writing for corporations or companies?

The process of writing for corporations or companies usually begins with understanding the brand's identity, values, and objectives. From there, it's about translating those elements into musical form, often working closely with the client or their representatives to ensure that the music effectively communicates the desired message.

Collaboration, flexibility, and a willingness to iterate are essential as the project progresses, with revisions made based on feedback until the final product meets the client's satisfaction.

Do you think musicians need to know a lot of music theory and how to read music to write a hit song?

While a solid understanding of music theory and the ability to read music can certainly be beneficial for songwriting, they are not necessarily prerequisites for writing a hit song. Many successful musicians have achieved great success with minimal formal training in these areas.

What's most important is creativity, passion, and a strong sense of melody, rhythm, and harmony. However, having a grasp of music theory can undoubtedly enhance one's songwriting skills and provide a deeper understanding of the craft.

In a crowded marketplace, making your songs stand out requires a combination of talent, creativity, and strategic marketing efforts. Building a strong brand identity, engaging with your audience through social media and other platforms, and seeking out opportunities for exposure are essential

Do you get much feedback on the music you submit as far as anything needs to be changed?

Feedback is an integral part of the creative process, and receiving constructive criticism on the music submitted is common. This feedback can come from the client, music supervisors, or other stakeholders involved in the project.

It's essential to be open to feedback and willing to make changes as required to ensure that the music aligns with the client's vision and objectives. Collaboration and communication are key to refining the music and ultimately achieving the desired outcome.

So much music is released every day all over the world, what can people do to make their songs stand out in a very crowded marketplace?

In a crowded marketplace, making your songs stand out requires a combination of talent, creativity, and strategic marketing efforts. Building a strong brand identity, engaging with your audience through social media and other platforms, and seeking out opportunities for exposure are essential.

Additionally, focusing on creating high-quality music that resonates with listeners on an emotional level can help cut through the noise and leave a lasting impression. Collaboration with other artists, influencers, or brands can also help expand your reach and attract attention to your music in a competitive landscape.

Ultimately, perseverance, dedication, and a willingness to innovate are key to standing out in the music industry.

Connect With Phoenix Sound Studios
Website / Facebook / Twitter / Instagram / Linkedin

About Magesh Magesh

Magesh is a musician and producer who has worked with Rihanna, Lionel Richie, Ricky Martin, Chris Brown, The Pussy Cat Dolls, Nelly Furtado, and Vernon Reid of Living Colour. He released an instructional drumming DVD called "Unique Beats" where he mixed the drum kit with electronics and Indian hand percussion. He recently moved from Australia to the UK to explore new musical opportunities.
Website: mageshdrumteacher.co.uk

Contact Magesh Magesh at magesh.magesh7@gmail.com

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