Inside Pitch Club Founder Interview: Getting Songs Pitched and Cut

Inside Pitch Club was built to give independent songwriters access to something traditionally hard to reach: a real outlet for getting their songs in front of decision-makers in the music industry and direct, meaningful feedback. In this interview, we go beyond the basics to explore how Inside Pitch Club thinks about music, what industry listeners are really listening for, and how writers can use feedback to build long-term momentum. We sat down with Justin, co-founder of Inside Pitch Club, to go deeper into how the platform works, what motivated him to build it, and how it’s helping serious songwriters get their songs heard and moved forward in today’s music industry.

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WHAT IS INSIDE PITCH CLUB
In your own words, can you tell us what Inside Pitch Club is?

Sure! It’s the new way to pitch your songs. Independent songwriters who are serious about their craft need a way to cut through the noise and get their songs in front of the people that make decisions in the industry. We have a dedicated song plugging staff with decades of experience, relationships, and resumes of real success landing songs with major artists and getting songs placed in TV, film, and advertising. We are for serious songwriters looking for serious opportunities.

What makes Inside Pitch Club different than other companies dedicated to helping independent songwriters?

First and foremost, our mission is getting songs cut by artists. A lot of the other companies focus on or are largely involved in education. We believe there’s a large population of the independent songwriting community beyond the beginner stage that is underserved. Education plays a small role in our mission, but we focus on pitching songs and creating opportunities for songwriters that are ready to be taken seriously.

We also don’t take ANY of your rights. Most other companies have some pitching opportunities, but it comes with signing away 25–50% of your copyright to have access to that single opportunity. Our club was created for songwriters by songwriters. Our teammates have written for various publishing companies as staff writers and have had success getting songs cut ourselves, so we understand the process, and we’ve created this club to be what we wish we’d had years ago when we started taking writing seriously. The club isn’t for everyone, but we believe it’s the best option for serious independent songwriters to get to the next level.

What can writers expect out of membership?

Writers get access to a dedicated song plugging staff whose full-time job is getting songs in front of industry decision-makers. They’ll get small group hangs from industry pros (publishers, artists, A&R executives, managers, hit songwriters), monthly song contests, industry advice via the Inside Scoop newsletter, and access to our Inside Pitch artist opportunities (where we partner with an artist every quarter who guarantees to cut a song from our catalog). There’s a lot more, but these are some of the things that we like to highlight.

The Why Behind Inside Pitch Club

Inside Pitch Club isn’t a traditional “submit and wait” service. What personal frustrations or industry gaps led you to build it this way?

Technically, all of the music industry has an aspect of waiting. Unless you’re going into the studio with an artist that is cutting songs right then, the truth is that it will take someone pitching that song over and over in most cases in order for it to find the right home. Even a massive hit like “The House That Built Me” was turned down by a lot of artists and took years until it landed in the hands of Miranda Lambert, who made it a generational hit.

We’ve seen a lot of services out there that will agree to pitch your song to one opportunity if you’re willing to sign over half of your rights to the song. The truth is, the chances of landing that single opportunity are usually slim, and now you’ve given away half of your song. There weren’t a lot of great pitching options out there, so we set out to build something different. Something where writers could keep their rights and get their songs pitched for more than one opportunity.

Why is real, written feedback from active industry professionals more important now than ever?

There’s a lot of noise out there. One thing that has frustrated us is this kind of false market. We’ve seen independent songwriters get really excited about really positive feedback or a “big opportunity” that ultimately was just created to avoid the awkwardness of telling a songwriter their song isn’t there yet, or worse, trying to take advantage of a songwriter by taking their money or rights. We try to give our writers clear, direct feedback without sugarcoating things. That’s the only way to grow and get a sense of where you are and what to work on.

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What do you think most writers misunderstand about how their songs are actually evaluated behind the scenes?

The truth is that music is very subjective, but we think it’s important to get feedback from professionals who are still active and staying on top of what’s working in the music business. Two professionals may not agree, but feedback should be specific and sincere.

If a writer walked away with one mindset shift after using Inside Pitch Club, what would you hope that is?

Our hope is that our writers feel like they’re writing at a higher level of professionalism with a goal in mind. For some, it’s the first time their songs actually have a real chance of being cut. We’re actively getting cuts for our writers, so it’s encouraging to know that you’ve got something to legitimately shoot for.

How Industry Professionals Really Listen

When an industry professional presses play on a submission, what are they listening for in the first 10–15 seconds?

These days, they are probably trying to determine if the demo is AI or not, haha. Song-wise, though, we think it just needs to be great. There are a lot of ways to write a great song, but there are INFINITE ways to NOT write a great song. It’s top to bottom. Is the idea good? Is the title interesting? Do the lines keep your attention lyrically? Is the melody something that an artist would want to sing every night for the next 20 years? Is it better than at least most of the other thousand songs they are going to be pitched? It has to stand out. It can’t just be good.

Are there common issues you hear repeatedly from otherwise talented writers that have nothing to do with recording quality?

One super common thing is just remembering to keep personal tense consistent. So many times we hear otherwise good songs start out talking ABOUT a girl, and then by the chorus, it’s talking TO the girl. A shift in audience like that is usually a problem. Other common issues are a good song that’s not quite as good as another song that’s already out and very similar.

Writing songs is not easy. If it feels easy, you’ve either caught one of those rare moments where a great one just falls out, or you probably haven’t pushed yourself enough on it.

How do you approach giving honest critique without discouraging the writer behind the song?

Writers tend to be empaths, so we can definitely wear our emotions on our sleeve. That being said, we think too much of the industry focusing on independent writers treats them like they can’t handle feedback. If I wanted to be a professional baseball player and hired a pro coach to evaluate where I was at, I’d want him to tell me the truth. If I threw 65 miles per hour and had no curveball, chances are I wouldn’t pitch for the Yankees, so why would I want the coach telling me how great I am just to make me feel good or get my money? No, I’d want them to be honest with me about where I’m at based on their experience as a pro.

It should be the same with songwriting. Independent songwriters are big boys and girls, and they can be treated as such. Sure, we’re not just going to blast a song, but we will be honest if it’s not where it needs to be.

Have you seen writers fundamentally reframe their creative direction based on feedback from the platform?

We have. It’s been really cool to watch writers really improve and get more consistent.

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Inside the Process

From a writer’s perspective, what makes the Inside Pitch Club experience feel different once they’re inside the system?

Knowing they have someone championing their songs is so important. It’s hard to feel motivated to write songs when you don’t really have any outlet to get them to anyone. We give writers that direct connection with the gatekeepers, and our song pluggers have years of experience and relationships that allow them the inroads they need to make things happen.

Why was it important for you to prioritize thoughtful written feedback over scores, ratings, or rankings?

Our number one priority is getting songs pitched and cut. There are a lot of companies out there that focus on feedback and education, and while that is certainly part of what we do, our number one goal is getting songs in the right hands. That being said, writers need clear feedback that’s digestible and points them to the “aha” moment. Scores, ratings, and rankings may help you have an idea of where your song stands, but not how to make it better.

Using Feedback to Build Momentum

How should writers think about feedback as part of a long-term strategy rather than a one-off opinion?

First and foremost, you have to trust the person or team giving you the feedback. Low-quality feedback just muddies the water and is not constructive at all. Good feedback should be like shining a light in a dimly lit room. Suddenly you see the cobwebs and the dust and the things that can use some cleaning up. With consistent feedback, writers will start to recognize patterns of both strengths and weaknesses and build on the good while working on the problematic.

Do you see Inside Pitch Club as more of an educational tool, a career accelerator, or a door-opener?

Definitely more of a door-opener and career accelerator than an educational tool. There are already some great options out there for education, but there seemed to be a lack of companies treating independent songwriters more like professional staff writers. We hope to be a stepping stone for some writers, almost like a farm team to a publishing deal if the right situation comes along. That’s one of the main reasons we don’t take any percentage of rights – so writers have options with their catalogs once things start taking off.

What’s a realistic early win writers should hope for when engaging with the platform?

We all want a big cut with a huge artist, and we go after those opportunities hard. But we also go after up-and-coming artists. They are the future of the industry, and we’ve already seen some we’ve worked with start to gain massive traction. We partner with an up-and-comer every quarter to cut a song directly from one of our members. It never gets old watching a writer get their first cut.

Inside Pitch Club for the AirGigs Community

Many AirGigs members collaborate remotely with producers, musicians, and engineers. How does Inside Pitch Club fit into that modern workflow?

We love how AirGigs connects writers with so many different creatives. There are pro vocalists and musicians for every genre. Once writers have demoed a great song, we see the club as the next step to getting their songs heard and trying to find them a home. In addition to pitching to artists, we pitch a lot to TV, film, and advertising, so independent artists looking to land something in that space would benefit from being part of the club as well.

What advice would you give a writer who just completed a song and is debating whether it’s ready for industry ears?

First, give it a day and then re-listen. Does it make you feel something? If so, it’s worth a shot. Generally, we tell our members to submit the song. If it doesn’t make the pitch catalog and you’re surprised by that, submit it for a review and we can help hone in on what’s holding it back.

We also have a program called The Bullpen for writers who have submitted a song in a given month that was good and well-written, but just not quite ready to be pitched. Bullpen members get extra perks like additional small group hangs with industry pros and song contests beyond what all members receive. Getting your song in the Bullpen is a good indicator that it’s probably worth getting a song review done.

Have you noticed differences in feedback when songs are created with experienced collaborators?

Absolutely. There’s nothing like experience to teach you to write a song. No one starts out good at a highly competitive skill. Some may be more naturally inclined, but ultimately it takes time to perfect your craft. And no one ever finishes. We all need to keep trying to get better all the time. There’s nothing like learning from someone who is a little farther along than you.

Looking Ahead

With DIY tools and AI becoming more accessible, how has the value of trusted human feedback changed?

Real human everything demands a premium now. There’s so much fake out there, and people are getting a little tired of it. There’s no faking real human emotion. For writers, keep writing what you feel. And when it comes to feedback, nothing substitutes for real human ears and real emotional response. There are songs out there today that almost everyone agrees on. Ever been to a bar when “Sweet Caroline” comes on? You can’t deny how catchy it is that all these years later people from every generation are screaming it at the top of their lungs.

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What excites you most about the future of Inside Pitch Club?

More wins for our writers. We want to see number-one songs and gold records and Grammy Awards, and we think we will. We are still young, but the growth we’ve seen already in terms of placements and reputation has been really encouraging.

In an ideal music industry ecosystem for independent writers, what role should platforms like yours play?

Pitching platforms should be helping grow writers’ careers. Nothing happens overnight, but forward momentum should be the ultimate goal.

For a writer on the fence, what’s the strongest reason to experience Inside Pitch Club firsthand?

We are song champions and songwriter champions. We’ve been in it and are still in it, and we understand the various aspects of it. No one will work harder for independent songwriters than we will.

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