Abi Asija sits down with Greig Watts, co-owner of DWB, a songwriting and music business that has evolved from a royalty-driven model into a growing business built around mentorship, coaching, music production, and songwriting camps.
Greig shares how the changing music industry has affected the traditional royalty model and why DWB is increasingly focused on coaching and mentorship. While royalties still provide credibility, coaching and mentorship have become the more profitable side of the business, creating an opportunity to build a more scalable and predictable growth strategy.
Key Insight: DWB's biggest constraint right now is not the product, it's generating enough qualified leads. The company previously relied heavily on organic demand, Facebook connections, word of mouth, and referrals, but Greg explains that this organic demand is starting to slow down.
The conversation breaks down DWB's current customer acquisition strategy, including its Facebook audience, email list, networking meetings, paid advertising, and word-of-mouth referrals. Abi also identifies four different ways the business can market its offers: one-to-one warm, one-to-one cold, one-to-many warm, and one-to-many cold.
A major opportunity comes from DWB's experience with Eurovision. The team has had 18 Eurovision entries over the last 11 years, giving them a powerful credibility and proof-based marketing angle. Abi explains why this achievement should become the central hook for their advertising rather than simply promoting a generic songwriting networking event.
The discussion also explores DWB's ideal customers, particularly aspiring songwriters between roughly 35 and 55 who have established careers in other industries but still want to pursue songwriting.
Greig explains DWB's offer structure, including six-month group mentorships, in-person songwriting camps, courses, music production, and one-to-one support. The mentorship typically includes groups of six to nine people, while camps are held in different locations, with the UK being particularly profitable.
The conversation goes deeper into pricing, positioning, and the idea of creating a more compelling Eurovision-focused offer. Abi and Greig discuss making the offer more benefit-driven, creating a stronger guarantee, using testimonials as proof, and potentially shifting from a fixed six-month program toward a recurring monthly model.
AI is also beginning to affect songwriting, creating uncertainty around how the industry will evolve. Greg explains that AI has disrupted songwriting but has not eliminated the need for human expertise, while DWB continues to explore opportunities across Eurovision, K-pop, and other areas of the music industry.
Viewers will learn how DWB can turn its Eurovision track record into a powerful marketing advantage, generate more qualified leads, improve its offer, build recurring revenue, and adapt its songwriting business to a rapidly changing music industry. You can reach out Greig to [email protected].