Coast 2 Coast Music

I went to the Coast 2 Coast Music Conference in Miami last Labor Day. I’m a singer-writer who also does a little PR work for indie friends. I wanted real feedback, not fluff. I got both—some gold, some noise. You know what? I’d still go again. For another detailed firsthand recap of the weekend, check out this write-up on the Coast 2 Coast site.
If you’re thinking of making the trip yourself, you can check the upcoming conference schedule on Coast 2 Coast Music’s official site.
The sprawling Coast 2 Coast Music Conference is known for uniting top DJs, producers, and A&Rs on value-packed panels before crowning the year’s best performer during the Coast 2 Coast LIVE World Championship showcase.
Looking ahead, the 2025 edition on December 14th at Miami’s Little Haiti Cultural Complex will offer new panels, showcases, and plenty of networking for independent artists.

Quick feel of the room

Big energy. Loud halls. DJs in fitted caps and artists in merch tees. Everyone had a QR code. People came from Atlanta, Philly, Toronto, and even Jamaica. I heard drill, R&B, boom bap, Afrobeats. The lobby smelled like cafecito and cables. It felt messy and alive.

Just like a bustling personals feed, the conference throws you into a sea of strangers where quick chemistry can spark after a single introduction; if you’re also hunting for late-night company while in town, the no-nonsense guide on JustBang’s adult personals page shows you how to sift real profiles from fakes and set up safe, straightforward meet-ups fast.

For performers who plan to road-trip north toward Orlando after the conference and want a discreet way to de-stress between shows, the local rundown at Rubmaps Ocoee details customer-rated massage parlors, service menus, and etiquette tips so you can book a no-guesswork relaxation session on the fly.

What I actually did

Day 1 started with badge pickup. The line crawled. My coffee got warm in my hand. Then I hit a panel on streaming money. Two A&Rs and a radio guy talked numbers. One said, “Plan for about $3–$5 per thousand streams. It swings.” Not a promise—just a guide.

After lunch, I had a 10-minute feedback slot. I brought a performance mix of my track “Paper Boats” (hooks up, no lead vocal on the verses, so I could sing). The engineer on the panel played the first 90 seconds. Notes I wrote down, word for word:

• “Cut your intro from 18 seconds to 6.”
• “De-ess at 7 kHz. S is a bit sharp.”
• “Kick needs a tiny bump around 80 Hz.”
• “Add your ISRC on the file and the EPK.” (EPK is your press kit.)

It stung a little. Then I smiled. Clean, clear, useful.

That night, I watched the artist showcase at Miami LIVE. Fast changeovers. No time to overthink. A rapper from Houston killed it with a 2-minute medley. A singer from Jersey used a show track that was too busy. The chorus buried her. I felt that in my chest because I’ve done that mistake too.

Little moments that stuck

• A producer battle: two folks—one on FL Studio, one on Ableton—went head to head. The FL beat won by crowd noise. It had a nasty swing. The room shook.
• Media talk: a PR rep broke down “30-second pitch, 2-sentence bio, one clean photo.” She said, “Reels need a hook in 2–3 seconds. No slow starts.”
• I swapped cards with a DJ from 99 Jamz. We played my track in the hallway on a tiny JBL. He said, “I like the pocket. Move that snare a hair earlier.” I changed it the next day.
• A lawyer gave out split sheet templates. He kept repeating, “Agree on splits before the studio. Not after the Hennessy.” It was funny. And true.

The part where I contradict myself (then fix it)

I came for networking. I stayed for the feedback. But also, parts felt sales-y. A few folks pushed “promo packages” hard. Later, I realized some artists liked that. They wanted someone to handle assets and ads. Me? I just needed straight notes. Once I found the right rooms, it was worth it.

What I loved

• Clear, blunt feedback on mixes and song structure
• Real talk on money: splits, PROs (BMI/ASCAP), and basic contracts
• The hallway magic—honestly, the best A&R is still the hallway
• Meeting a dancehall artist who sent me a hook idea the same night
• A quick session on show mixes: keep a 2-track, a performance version, and a capella in 44.1k WAV

What bugged me

• Panels started late more than once
• Soundchecks felt rushed; one mic had feedback for two acts
• The schedule changed and no one said much
• Some feedback circles got crowded, so your turn got short
• A “pay-to-play” vibe at times—just calling it how I felt it

Money and time stuff no one tells you

My pass cost a few hundred. Hotel and food made it add up fast. Uber rides weren’t cheap. Bring a water bottle, earplugs, and a charger. And make a plan. Without one, you’ll float and miss the good rooms.

Real tips that helped me win small

• Carry your show mix on your phone and a USB. Label it like this: ArtistName_SongName_PERF_44k.wav
• Keep a one-page EPK on Google Drive and PDF. Photo at 3000×3000.
• Follow up the same day. I sent voice notes with links. Folks replied.
• Keep songs to 2–3 minutes live. Get to the hook fast.
• Ask one clear question per panel. Mine was, “What ruins a radio edit?” Answer: “Long intros and muddy vocals.”

Who should go

• New artists who need live feedback
• Producers who want real ears on beats
• Managers who want contacts for radio, blogs, and shows
• DIY folks who can handle some chaos and learn in the noise

Who should skip

• If you hate loud rooms and late starts
• If you want a record deal handed to you
• If you can’t handle blunt notes on your baby (the song, not a real baby)

My results, so you can judge

• I fixed the sibilance and low end the day after. The track hit cleaner.
• Two DJs added me to their email drop for new music.
• I booked a small show from a hallway chat.
• I got a beat pack from a Toronto producer with an SP-404. We made a demo the next week.

Final take

Was it perfect? No. Was it useful? Yes. It felt like a long, loud group critique with moments of gold. If you bring good files, a short pitch, and some grace, you’ll leave sharper. I did. I came home tired, sunburned, and weirdly hopeful. And that counts.

Would I go again? Yeah—this time with extra earplugs and a tighter 60-second intro.

I didn’t plan this. A street festival pulled me in. A djembe called out with three hits—boom, tone, slap—and my feet moved before my brain did. Since then, I’ve spent real time with a bunch of African instruments. Some I own. Some I borrowed. A few I just couldn’t put down.
For the play-by-play of every instrument that tried to follow me home, check out the extended story here if you’re curious.

You know what? They don’t feel the same in your hands as they do on YouTube. And that’s the magic.

The Djembe: Loud, Warm, and a Little Bossy

My main hand drum is a rope-tuned djembe from Meinl, 12 inches, carved wood, goat skin head. To see the full lineup from back in the day, you can flip through Meinl’s 2016 percussion catalog here. I learned “bass, tone, slap” the hard way—slaps will bite if your hands are tight. After a week of sore palms, I relaxed my fingers, and the sound opened up. Big lesson.

• What I love: It moves air. In a circle, it cuts through. Bass is a hug; slaps are lightning.
• What bugs me: Dry heat messes with the head. I rub a tiny bit of shea butter around the rim (not the playing area), and I keep it away from vents.
• Real tip: If the rope feels rough, a little wax on a rag keeps my hands from burning on long tunes like Kuku or Kassa.

Long rehearsals can still leave my forearms screaming for a pro tune-up, and whenever a gig drops me near the Hudson Valley I lean on the Rubmaps’ Newburgh massage-parlor index—a straight-shooting directory packed with user reviews, pricing, and hours that helps me lock in a trustworthy spot for deep-tissue relief before the next set.

I took a Saturday class with a teacher from Conakry. We played parts, then breaks. When the dunun locked in, my chest shook. That’s the moment I fell in love. It buzzed with the same open-door creativity I later felt at the Coast 2 Coast Music Conference in Miami, where beats spill out of every hallway.

The Kalimba vs. Mbira: Couch Friend vs. Deep River

I own a Hugh Tracey Treble Kalimba in G. It’s small, bright, and sits in my lap while tea cools. Tunes just…flow. I trim my nails short and use a dab of coconut oil after long sessions because the tines can make my thumbs tender at first.

Then I borrowed a mbira dzavadzimu at a community jam. It sat in a calabash (deze) with that soft buzz—like honey on sound. We played “Nhemamusasa.” The music felt circular, like breathing. It’s deeper and heavier than kalimba, and yes, harder.

• Kalimba pros: $60–$120 gets you a good one. Easy to carry. Great for late nights.
• Kalimba cons: Bright tone can feel thin alone. Metal tines can pinch if set too low.
• Mbira pros: That buzz! It fills a room. Patterns feel ancient and kind.
• Mbira cons: Tuning is a journey. Expect to use needle-nose pliers and patience. Price is higher ($200–$500+).

Still, I play both. Kalimba when I need calm. Mbira when I need roots.

The Kora: A Harp You Wear

I rented a 21-string kora from a teacher who plays in New York. Big gourd body, cowhide, two handles, leather rings for tuning. I sat with a tuner app, moved rings millimeter by millimeter, and breathed like I was doing yoga.

First time I played a kumbengo pattern, the room got soft. The kora doesn’t shout. It glows.

• What I love: You can play bass and melody together. It’s like two voices that get along.
• What’s hard: Humidity shifts the tuning. It’s not a quick “grab and go” instrument.
• Money note: A solid student kora often runs $1,200–$2,500. You’re paying for a real build, and it’s worth it if you’re serious.

If sunrise had a sound, this would be it.

The Talking Drum: Squeeze, Bend, Speak

Mine is a small Ghana talking drum with a curved stick. You tuck it under your arm, squeeze the cords, and the pitch slides like a voice. It’s great for call-and-response with singers.

• Love: It can laugh. It can cry. People turn their heads when they hear it.
• Gripe: Leather dries fast. I use a tiny bit of shea butter around the edges. Also, it’s tricky to mic on stage.

I use it for short breaks between songs. It wakes up a crowd without yelling.

Udu (Clay Pot Drum): The Studio Sweetheart

I bought an LP Claytone udu on a whim. It looks like a pot, because it basically is. The low “whoomp” you get when you cover and open the hole is wild. It sits on a foam ring on my coffee table, and I tap it with fingers and palms.

• Love: Recordings love this drum. It layers under vocals like soft thunder.
• Gripe: It’s fragile. Don’t let the dog near it. Also, cold rooms make it feel a bit dull.

If you like texture and quiet power, this is your buddy.

Balafon and Gyil: Wooden Roads You Can Walk

I spent a month with a 14-key balafon tuned to a D pentatonic. Gourd resonators had thin film on them (traditionally spider web or thin plastic), so it buzzed in a sweet way. The mallets felt alive; even a gentle hit sang.

• Love: Rhythms sit right in the body. Easy to hear parts with friends.
• Gripe: It takes space. And moving it in a small car? Yeah…no.

If you teach kids or play outdoor shows, this lights up faces.

Shekere (and Axatse): Shake Joy, But Mind the Gourd

I’ve got a Toca shekere with beads laced around a dried gourd. It’s simple, loud, and fun. I use a soft brush to dust it, because grit under the beads will chew the shell. I had a cheaper gourd crack when it fell off a stand. Lesson learned: use a hook or place it on a soft towel.

Plastic versions are tougher, but they don’t bloom the same way. Trade-offs, right?

Little Things That Help (Trust Me)

• Trim nails for kalimba/mbira. Your thumbs will thank you.
• Keep goatskin away from heaters and car dashboards.
• Loosen drum ropes or heads before flights.
• Store udu on a padded ring. Don’t stack stuff on it. Ever.
• For mbira buzz, a bottle cap strip can add life. For kalimba, a felt pad under the board calms ringy tones.

Cost, Space, and Where I Actually Buy

• Djembe: $120–$800 (rope-tuned wood with goat skin costs more but sounds warmer).
• Kalimba: $50–$120 (Hugh Tracey, Gecko, Hokema all treated me well).
• Mbira: $200–$600+ (get one set up by a builder; it matters).
• Udu: $100–$200 (LP and Meinl are steady).
• Balafon: $400–$900 (plus room to store it).
• Kora: $1,200–$2,500+ (learn from a teacher; it saves time and tears).

For a reliable online source, Coast2CoastMusic curates a solid selection of African drums, kalimbas, and accessories—with clear specs and quick shipping.

I look on Reverb for used gear. I also ask local drum shops if they have West African pieces—they often know teachers. Buying from makers in Mali, Guinea, Ghana, Nigeria, or Zimbabwe feels right, and the sound shows it.
And because a lot of gear talk (and surprise friendships) now happens in random chat rooms, you may stumble into spaces that quickly shift from music nerd-outs to full-on flirting; if you’re curious—or cautious—about navigating that turn, check out this practical guide on staying safe and reading the room when things get spicy on free chat platforms: How to Get Sex on Free Chat Sites for straight-talk tips about consent, boundaries, and keeping the vibe fun without risking your privacy.

Culture and Care: Play With Respect

Learn the names of rhythms and where they come from. Ask who taught you. If a song is for harvest, or a ceremony, say it out loud. It keeps the line intact. It

I marched for years. I still teach a little. I’ve hauled horns on hot turf, through rain, and up long parade routes that feel like a mile longer than they are. So here’s my honest, first-hand review of the marching band gear I’ve used and what actually held up when the bus smelled like wet gloves.
If you want an even deeper dive into that grind, I wrote up the blow-by-blow for Coast2CoastMusic in this no-filter marching-band diary.

Quick backstory

Fall football? I lived it. Summer band? Sunburn and valve oil. I’ve played trumpet, mellophone, and a little baritone. I’ve lugged a sousaphone for a season. I’ve also run with a drumline and spent way too much time fixing straps and heads. You know what? The little things matter as much as the big shiny thing.

Trumpet that didn’t fight me

I spent two seasons with a Yamaha YTR-2330 in silver. It’s a student horn, but it sings.

• What I liked: Fast valves with Blue Juice. Easy slotting in the upper register. The sound cut through the stands without me overblowing.
• What bugged me: The third-valve ring felt a bit small with gloves. My bell picked up a tiny dent from a cymbal crash in third quarter. Totally my fault, but still.

I also tried a Bach TR300 for two games. Warm tone, but the valves felt slower for me. My 3C mouthpiece was fine on both, though I used a 7C on parade days to save my chops.

Tip: Keep a microfiber cloth in your jacket. Wipe after every set. Dust on turf is sneaky.

Mellophone: big voice, picky pitch

My favorite field horn was the Yamaha YMP-204M mellophone. It looks tough and sounds bold.

• Mouthpiece: Yamaha 14F4. Comfortable rim. I could get through a full show without lip drama.
• Intonation: Low D sat flat on me. I lipped it up and used more air. Once I locked it in, it stayed.
• Weight: It’s not light, but the balance is fair. My left wrist was fine after week two.

I tested a King 1121 mellophone for a clinic. Bright and punchy. Fun for stands. But it ran sharp when I got excited, so I had to pull slides more than I wanted. I actually got my first crack at it during the Coast 2 Coast Music Conference down in Miami, where half the brass hall was buzzing on those horns.

Marching baritone that’s a tank (in a good way)

I marched the Jupiter Quantum Marching Baritone for one season. It looks like a spaceship and moves air like one too.

• Strengths: Big, rich voice. Great for the mid-line blend. Bracing felt stout; no wiggle.
• Weakness: It’s heavy. Not gonna sugarcoat it. My right shoulder barked on long parades, so I swapped to a wider strap on my jacket. Helped a lot.
• Pitch: Pretty stable. Low range was the sweet spot.

If you’re small, try it on a full block before you say yes. It’s worth it if you can carry it clean.

After a solid week hauling that baritone during finals in Bentonville, my back was toast. When the bus swung through Northwest Arkansas I needed more than Advil, so I browsed the crowd-sourced listings on Rubmaps Springdale which breaks down local massage spots by price, pressure style, and overall cleanliness—perfect for getting those marching-band knots worked out fast and being ready for the very next rehearsal.

Sousaphone: the classic roar

I marched a Conn 20K sousaphone for one fall. The sound? Good grief. Thick, round, and happy.

• Pros: It fills the stadium with one long tone. The bell throws sound forward like a cannon.
• Cons: It’s heavy. I loved it for halftime. I did not love mile-long parades in the sun.

I also tried a fiberglass Conn 36K for a parade day. My back said thank you. The tone was lighter and a bit papery up close, but in a crowd it worked fine.

Woodwinds that survive weather

Yes, woodwinds can march. I’ve taught a bunch and subbed parts when needed.

• Clarinet: Yamaha YCL-255 (ABS body). It handled rain and cold without drama. I used Vandoren 2.5 reeds on dry days and Rico Orange Box when it poured. The Rico reeds soaked up less and stayed more predictable for me.
• Alto sax: Yamaha YAS-26. Solid pads, smooth keys. I used a Neotech soft strap to save my neck. La Voz Medium reeds gave me the bite I wanted for stands.
• Piccolo: Gemeinhardt 4P for football nights. Plastic wins in cold. My Yamaha YPC-32 sounded sweeter, but metal headjoint + 35°F = sad pitch and frozen face.

Small tip: Flip folders from DEG are sturdy. The springs don’t spit music into the wind if you seat the cards right. Getting outside the usual band box also helped—last year I spent a week trying shekeres, kalimbas, and a whole spread of new sounds, and I wound up writing about the stand-outs in this hands-on African-instrument roundup if you’re curious.

Drumline: stuff that didn’t rattle apart

I’m not a snare god. But I’ve taught lines and carried plenty.

• Snare: Pearl Championship Maple with a Remo Black Max head. Crack for days. Holds tension well if you check it between sets.
• Tenors: Mapex Quantum tenors. Great feel. The shells project like they mean it.
• Basses: Yamaha 8300 series. Clear fundamental, even with worn mallets. Easy to tune a clean split.
• Carriers: Randall May AirFrame saved my shoulders. Pearl MX carriers are tough too, but I got fewer hot spots with the May.

Sticks? Vic Firth Corpsmaster Ralph Hardimon felt the most natural in my hands. Tape the butt end if your drum major is strict about looks.

Little things that make a big difference

• Gloves: Dinkles long-wrist gloves didn’t fray on me. Wash them in a sink, not the washer. Trust me.
• Shoes: Dinkles Vanguard fit snug. Band Shoppe MTX had better grip on wet turf. I kept both—game day vs parade day.
• Valve oil: Blue Juice for speed. Al Cass for quiet action. I brought both and swapped as needed.
• Lyres and clips: DEG again. They don’t twist loose mid-set if you tighten them once and leave them.
• Reed guards: Vandoren plastic cases. No warping in a moist case (and yes, every case gets moist).

Outside of equipment talk, long bus rides and post-game hotel nights can get lonely fast. When the jokes about “band camp hookups” turn real and you want an easy, swipe-free way to find someone who’s actually down for a quick, no-strings hang, pause the rehearsal tracks and visit Instabang. It connects you with nearby adults who are upfront about keeping things casual, so you spend less time guessing and more time catching up on sleep before call time.

What held up in rain, heat, and bus naps

Here’s the short list of gear I’d buy again and why: Before I dive in, I’ll mention that I’ve priced and even ordered a few of these pieces through Coast2CoastMusic, which keeps a surprisingly deep marching inventory in one place.

• Yamaha YTR-2330 trumpet: Light, fast, clean tone for fields and parades.
• Yamaha YMP-204M mellophone: Big voice, stable once you know its pitch quirks.
• Jupiter Quantum Marching Baritone: Heavy, but the sound pays you back.
• Conn 20K sousaphone: If you want the classic boom, this is it.
• Yamaha YCL-255 clarinet: Weather proof enough for marching life.
• Yamaha YAS-26 alto sax: Student horn that plays above its class.
• Gemeinhardt 4P piccolo: Cold-night hero.
• Pearl Championship snare + Remo Black Max: Reliable, loud, clean.
• Randall May AirFrame carrier: Shoulders will thank you.

A few “learned the hard way” notes

• Don’t leave silver horns in the sun at lunch. They burn your face on set one. I have the lip mark to prove it.
• Tape your flip folder corners before a windy game. It’s not cute chasing music on the track.
• For mellophone and baritone, stretch your wrists.

I make songs. I sing a little. I rap a little. And I’m curious by nature. So I tried Coast 2 Coast Music. I did one live show and paid for a mixtape spot. I kept notes, because I didn’t want foggy memory hype. You want real? Here’s what actually happened to me. (If you want the minute-by-minute receipts, I also put together a deeper dive into the whole Coast 2 Coast Music experiment that lines up every cost and outcome.)
Quick note: Coast 2 Coast LIVE bills itself as the largest artist showcase on the planet, promising independent performers face-time with celebrity judges and instant critique.

Why I Signed Up

I kept seeing their flyers on Instagram. “Showcase tonight. Judges. Prizes.” I wanted a stage and real feedback. Also, I needed a fresh performance video. So I went for it.
So before I put any money down, I browsed the Coast 2 Coast Music official site to see exactly what I was getting into.

What I Paid (Yep, the money part)

• Live show slot: $150 (standard)
• Video add-on: $40 (they filmed my set)
• Mixtape single placement: $50

So $240 total. That’s not lunch money. I felt it.

The Live Show Night

Mine was on a Wednesday. Small club. Dark lights. Sticky floor. You know the vibe.

• Check-in was 6:30 pm. I got a wristband and a number.
• I went on at 9:42 pm. Long wait. Bring water and patience.
• Each artist got about 2.5 minutes. The DJ faded you out when time hit. No extra grace.
• There were 3 judges: a DJ with club work, a radio host who did weekend shows, and an A&R rep who said he scouts for playlists and regional talent.

They gave me a paper scorecard. Categories were things like:

• Song Quality
• Stage Presence
• Originality
• Crowd Control
• Production/Mix
• Overall Potential

My scores? Mostly 7s. One 8 for stage presence. A 6 for mix quality. Fair.

What they told me after:

• “Your hook is catchy, but the ad-libs are too loud. Pull those down.”
• “Lose the 12-bar intro. Start right on the hook.”
• “Great eye contact. Keep the mic closer on the low notes.”

Simple notes, but they helped. I cut my intro the next day. Big difference.

The Room Energy

Crowd size was around 60 to 70. Not bad for midweek. A few acts brought friends. That mattered. When someone’s people yelled for them, the room woke up. Truth is, this kind of show rewards who can move a crowd. Judges feel that, even if they try not to.

Sound was clean. Lights were basic. Host kept it moving. One act froze mid-song. The host saved him with a joke, and the room clapped him back in. I liked that. Felt human. Moments like that reminded me of my earliest gigs—hauling brass under stadium lights—so different, yet the same adrenaline rush; I even wrote about those marching-band days right here if you’re nostalgic for drumline stories.

Tip I learned the hard way: bring your track as a clean WAV on a USB and email it too. Don’t trust one method. My first file clipped on the highs. The DJ used my backup. Crisis dodged.

What I Got After

The next afternoon I got:

• A performance clip (1080p, single camera, center angle)
• A few photos
• My scorecard PDF
• A short note about the next showcase and a “championship” event invite

The video was the best part for me. I posted a 30-second cut on Instagram and TikTok. It did fine. Not viral, but enough to look legit. A DJ from Tampa DM’d me to send clean versions. That was new.

I didn’t win my night, but I did get a finals invite. Travel wasn’t covered. There was a new fee to register. So if you’re dreaming this is a free ride to Miami sunshine, it’s not. It’s a system. You pay, you show up, you get a shot. If you’re dead-set on the Miami trip, take a peek at my unfiltered recap of an entire Coast 2 Coast Music Conference weekend before you book the flight.

The Mixtape Placement

I paid for one song on a Coast 2 Coast mixtape. It went live a week later. I got a little bump on my stats:

• 37 extra Spotify streams that week (yes, I counted)
• 12 new followers on Instagram
• 1 producer email asking for stems

Was it huge? No. Was it fake? Also no. It felt like a small, real push. But the cover art looked busy and my track sat between very different styles. That’s a thing with mixtapes—your song is a guest at a big, loud party.

What I Liked

• The feedback was plain, quick, and useful.
• The video looked good enough to pitch shows and media.
• Staff was on time and organized. I didn’t feel lost.
• The room had real artists. Some folks were great. I took notes from them too.

What Bugged Me

• It’s sales-heavy. Add-ons everywhere. You can rack up fees fast.
• The night ran long. Sitting three hours for a 2.5-minute set is rough.
• Crowd support matters a lot. If you don’t bring people, you’ll feel it.
• Some judge notes were copy-paste vibes. Two lines felt generic.

Some of these gripes aren’t just mine; a March 2024 article by Gaetano digs deeper into Coast 2 Coast’s promotional tactics and questions whether the return justifies the spend for rising artists.

Before we jump into the worth-it verdict, let’s talk travel comfort for those inevitable out-of-town showcases. Long drives, cramped vans, and carrying merch boxes leave your shoulders in knots. If your next gig happens to route you through Alabama and you score a day off in Hoover, you might want a quick way to find legit massage relief without guesswork. I bookmarked this straightforward guide to Rubmaps spots in Hoover because it lays out locations, prices, and real user ratings—handy intel so you can decide whether a pit-stop massage is worth carving out an hour before soundcheck.

Was It Worth It?

For me, mostly yes—because I had a goal. I wanted a stage, a video, and real ears. I got that. I didn’t expect a label deal, so I wasn’t let down. If you want a quick fame jump, this won’t do it. If you want reps, tape, and a few open doors, it’s fine.

Who Should Try Coast 2 Coast Music

• New artists who need stage reps and content
• DIY folks who already bring 5–10 friends
• Rappers and singers who want fast, clean feedback
• Anyone who treats this like a piece of a plan, not the whole plan

Quick Tips From My Bag

• Bring at least 10 people. It changes the room.
• Cut a tight show mix: hook first, no long intros, clean version, final WAV.
• Rehearse a 2-minute version like it’s the album cut.
• Meet the judges after. Ask one clear question.
• Follow up next day with links (Linktree or a smart link page).
• Don’t buy every add-on. Pick one: video or photos.
• Track results for two weeks. If nothing moves, adjust.
• Test alternative chat apps so your core supporters have a private line to you. For a quick overview of the most buzz-worthy options, read this list of sexy chat apps you should try this year—it breaks down user vibe, safety tools, and monetization angles that can help an indie artist turn casual conversations into loyal fandom.

My Bottom Line

Coast 2 Coast Music is a real stage with real cameras and real people. It’s not magic. It’s a tool. Use it well, or you’ll just spend money and catch a headache. I’d give it a 3 out of 5 for value, 4 out of 5 for organization, and a solid 4 out of 5 for getting me a usable video.

Would I do it again? Maybe once a quarter, when I have a new single and a plan. And yeah, I’d still cut that intro.

You know what? That little hook fix alone paid me back. Funny how one note can change a whole set.

Note: This is a creative, first-person narrative written for review-style storytelling.

I make indie pop with a hip-hop edge. Small team. One camera. A lot of coffee. So when I kept seeing “Coast 2 Coast Music Video” promos, I got curious. Can they really push a video from a small artist like me? Or is it just another pricey flyer with my name on it?
One quick browse through the official Coast 2 Coast Music site hinted that there might be real infrastructure behind the pitch, so I rolled the dice. For extra insight, I dug into a detailed first-person review of their video service to see how another artist’s experience stacked up.

Here’s the thing—I gave it a real run in this story. I’ll walk you through what happened, what felt good, what stung, and what I’d do different next time.

What I sent them (and why it mattered)

I had a three-minute video called “Late Bus.” Shot on a Sony a6400, edited in DaVinci Resolve. It had a clean hook, tight cuts, and captions burned in. I also had:

• A one-sheet with a short bio, press photo, and contact email
• A 15-second teaser for socials
• A lyrics doc (because closed captions help a ton)
• ISRC and UPC codes ready

Honestly, that prep work saved me later. They asked for most of it.

The package I chose and what it included

I went for a mid-level push. Not the cheapest, not the crazy big one. It came with:

• A post on their YouTube channel
• A feature on their site’s video section
• An email blast mention (one slot, not the headline)
• A simple IG story share
• A “feedback session” with a guest judge

If a lighter touch fits your budget, take a look at the Coast 2 Coast Mixtapes' Basic Video Promotion Package; it pares the campaign down to the essentials and costs less than the tier I chose.

The upload portal was simple. Title, description, links. No fuss. I did have to compress my file to under 1GB. Fine by me—Resolve did it fast.

Day-by-day: how it rolled out

• Day 1: Video went live on their channel. Thumbnail looked sharp, though I wish they let me A/B test.
• Day 2: Short lull. I saw a small bump in views from their site.
• Day 3: Email blast hit. My inbox got a few curious replies. One DJ asked for a clean version (thank you, past me, for making one).
• Day 5: IG story from their page tagged me. I reposted. That gave me more saves than the email did.
• Day 7: Feedback session. A guest judge—an engineer who worked with regional artists—told me to shave the 8-second intro. “Hook the ears in 3,” he said. He was right.

You know what? That one note helped more than the view bump. Shortening the intro made the song pop on Reels.

The numbers I saw (simple and honest)

After 30 days:

• Views from their channel: 2,180
• Watch time: solid for the first 45 seconds, then a drop
• Comments: 41 (about half felt real and not vibe-less spam)
• Saves on IG from the story chain: 63
• New followers tied to the video push: about 80, mostly U.S., a few in the U.K. and Canada
• Email replies from the blast: 6 (2 DJs, 1 small blog, 3 fans who liked the hook)

Not viral. Not nothing. A decent nudge. If you’re hungry for another angle on how the broader Coast 2 Coast ecosystem performs, there’s a brutally honest case study of what happened when someone else tried it that complements these numbers.

The good stuff

• The portal was easy. No weird uploads. No maze.
• The email blast actually reached people. I could track the opens from my link tags.
• The feedback session was worth it. Free game—“trim your intro,” “raise the lead vocal 1dB,” “lose that long fade.”
• The YouTube post looked clean. They used my exact title and credits.

What bugged me

• Support replied, but slow. One of my emails sat for two days.
• View spikes were uneven. One late-night jump felt odd. Not fake, just… off.
• Upsells kept popping up. “Want a feature on X?” “Add a social push?” It gets pricey fast.
• Comments had a few “nice vid” bots. Normal for music, but still, meh.

Real talk: did it help my song?

Yes, but it didn’t carry it. I still had to push hard on my end. The combo that worked for me:

• Short cut-downs for Reels and Shorts
• A caption-first approach (people watch on mute)
• DM-ing the video to 20 local DJs and 10 playlist curators
• A clean edit and a radio edit ready to go
• A simple call-to-action on screen: “New song out now—link in bio”

The platform gave me a lane. I had to drive.

A few lessons I wish I knew sooner

• Keep the first shot bold. Faces win.
• Hook by second 3. No long logo intro. Think of it like catching someone’s eye on a dating app—first impressions win; a quick skim through the insight-packed articles at Plan Sexe can teach you plenty about leveraging attraction principles to keep viewers watching.
• When you research any promo platform, treat it the same way you’d vet a local service—read real reviews, cross-check ratings, look for red flags. For example, touring musicians passing through Central Florida often skim directories like Rubmaps Deland to see unfiltered, crowd-sourced feedback on spas before spending a dime; the same “trust but verify” mindset can save you money and headaches with music marketing vendors.
• Write a two-sentence description with one keyword you want to rank for.
• Add captions. Always.
• Make a square thumbnail and a vertical one. You’ll need both.
• Track links. If you can’t measure, you can’t tweak.

Who this fits—and who it doesn’t

• Good for: new artists wanting a light brand stamp, small buzz, and a legit-looking placement.
• Not great for: artists expecting label-level reach from one push, or folks who hate doing their own promo.

My quick pros and cons

Pros:

• Easy upload and clear steps
• Modest but real reach
• Solid feedback session

Cons:

• Slow-ish replies at times
• Upsells stack fast
• Mixed quality in comments

The bottom line

Coast 2 Coast Music Video can give you a small, steady lift. It won’t carry your whole rollout, but it can help you look and feel legit while you build your own fire. If you’ve got your assets tight—clean edit, captions, teasers, and a plan—it’s worth a test run. If you’re hoping for magic? You’ll feel let down.

One last thing: trim your intro. I know I said it twice. That one tweak got me more plays than any ad spend. Funny how the little stuff moves the needle, right? Before you step on any stage—virtual or otherwise—glance at the Coast 2 Coast LIVE Online Showcase Details to get a feel for how their online performances flow and what kind of feedback loop you can expect. And if you ever find yourself near their live events, you might dig this no-filter weekend-in-Miami recap of the Coast 2 Coast Music Conference for even more context on how the brand moves offline.