Tag: behind the scenes music production

  • New Song “Echo” Continues Jody Whitesides’ 2026 Releases

    New Song “Echo” Continues Jody Whitesides’ 2026 Releases

    2026 didn’t ease in.

    It kicked the door open.

    The year started heavy, loud guitars, sharper edges, momentum that doesn’t ask permission. Publicity dropped. Digital Empire followed. And now we’re stepping into something different with Echo, mellow on the surface, but carrying weight underneath.

    If you’ve been riding along since January 1st, you can probably feel it.

    This isn’t random output.

    It’s rhythm.

    A new song every single week means there’s always something waiting for you. Something new to press play on when you’re driving home late. Something to sit with when the house is quiet. Something to turn up when you need to shake off whatever the day threw at you.

    That consistency matters.

    Not because it’s ambitious.

    Because it’s dependable.

    You know the feeling when your favorite band disappears for years and you’re left wondering if that last album was the last album? This year is the opposite of that.

    Every week, there’s a pulse.

    And that pulse continues with Echo.

    Echo isn’t soft.

    It’s restrained.

    It carries that tension you feel when you’re holding something in, not exploding, not collapsing, just existing in that in-between space. The kind of song that sounds calm until you realize it’s hitting somewhere deeper than you expected.

    If you’ve ever felt like your thoughts bounce back at you louder than you said them…
    If you’ve ever replayed a conversation in your head long after it ended…

    Echo understands that.

    Beyond the music itself, there’s something else happening.

    Every release has its own visual identity. Posters. Shirts. Limited-run items that exist because the song exists. It’s not merch for the sake of merch. It’s artifacts.

    Echo Cover Art thumbnail

    Wall posters of the artwork are now part of that world. Printed on high-quality paper. Tangible. Something you can actually put in your space, not just scroll past.

    Music used to live in physical form.

    Vinyl sleeves. CD booklets. Liner notes.

    There’s something grounding about bringing that back into your room.

    If you’re paying attention, there’s also a quiet reward system built into each week. The clever ones find the discounted items before the wider world catches on. It’s not about urgency, it’s about participation. Being inside the rhythm instead of outside it.

    Last week added another layer.

    New Orleans.

    The city where jazz was born. A place that feels like music never left the sidewalks. I stepped away from my own work for a minute to help out my girlfriend and her high school jazz band. Watching young players pour themselves into charts older than they are, that does something to you.

    It reminds you why this all started.

    We ate incredible food. Heard live bands that felt like they were playing for survival, not attention. The air was mild. The nights stretched long.

    There’s a spot there called Dooky Chase’s Restaurant.

    Small group. Lucky break. A table opened up when the people ahead of us didn’t want to wait. That kind of timing feels almost scripted.

    Stuffed shrimp.

    Gumbo.

    A waitress who casually shared what former President Barack Obama once ordered when he dined there, and the story that followed. It’s one of those tales that you can’t Google your way into. You have to be in the room. You have to ask.

    Moments like that stick.

    Not because they’re glamorous.

    Because they’re lived.

    That trip, the music, the food, the stories, fed directly back into what you’ll hear in the weeks ahead. Not technically. Not mechanically. Emotionally.

    Energy in. Energy out.

    Back home, the pace hasn’t slowed. New songs taking shape. Visual worlds being built. One animated cover test ran recently and I’ll just say this, it felt right. The kind of right that makes you stop mid-sentence and just watch.

    It’s coming.

    And when it lands, you’ll see what I mean.

    But here’s the bigger picture.

    This year isn’t about scattered releases.

    It’s about momentum.

    About building something week by week that you can rely on. A soundtrack to your year, not just a playlist filler.

    If you’ve already signed up for the Jody Army, you’re inside that circle. You see things early. You get the extra edge on new drops. If you haven’t, now’s the time.

    Because 2026 isn’t slowing down.

    It’s not dipping a toe in.

    It’s moving.

    Every week.

  • Publicity by Jody Whitesides Sets the Tone for a Powerful 2026

    Publicity by Jody Whitesides Sets the Tone for a Powerful 2026

    Some years teach you what matters. Others put it into practice.

    2025 was the former. 2026 is going to be the latter.

    Last year had its highs, big ones. And it had its lows, the kind that test whether you’re actually committed or just playing around. But the thing about hard years is they force clarity. They strip away what doesn’t work and leave you with what does.

    And what works is this: direct connection. No middlemen. No algorithms deciding who sees what. Just the music, the people who care about it, and a straight line between the two.

    That’s what 2026 is built on.

    The first song of the year is Publicity, a track about what it takes to get noticed. Fame. Attention. The endless noise machine that churns out good news, bad news, fake news, all in service of keeping you looking.

    I wrote the lyric “good news, bad news, it’s all fake news” years ago. At the time it felt sharp. Now? It feels like prophecy.

    We’re living in a moment where the line between reality and performance has all but disappeared. Where outrage is currency. Where the loudest voice wins, regardless of whether it’s saying anything true.

    Publicity doesn’t pretend to have answers. It just observes the machine and asks: Is this really what we’re doing? Is this what it takes?

    If you’ve ever felt exhausted by the constant churn of headlines, hot takes, and manufactured drama, this song is for you. It’s not angry. It’s not preachy. It’s just clear-eyed about the game we’re all playing, whether we signed up for it or not.

    Publicity cover art

    Musically, it hits with the kind of energy that refuses to sit still. Driving rhythm. Sharp edges. A vocal delivery that doesn’t ask for your attention, it demands it. Fitting, given the subject matter.

    And here’s the thing: you’re not getting the watered-down streaming version. You’re getting the full studio-quality mix and master. The way it was meant to be heard.

    That’s part of the shift happening this year.

    In 2025, I rebuilt the infrastructure. Redesigned the website. Brought the email list under personal control so there’s no third party sifting through your information. Added fan levels so the people who show up get more access, more connection, more reasons to stay.

    It was painful. Frustrating. The kind of work that doesn’t show up in a flashy Instagram post but matters more than almost anything else.

    Because the goal isn’t just to release music. It’s to create a space where the music actually reaches the people who care about it, without a dozen layers of gatekeepers in the way.

    Last year also brought something I’d been chasing for a long time: releasing new music every single week. It’s a massive undertaking. Some weeks it felt impossible. But I’m finally in the rhythm of it, and 2026 will see more of the same.

    New releases. Every week. All year.

    Some of those releases are being built into Dolby Atmos versions, immersive, layered, the kind of experience that brings back the feeling of when music first felt special. When you’d put on headphones and get lost in it.

    That giddiness is still there. You just have to build for it.

    The animated covers are part of that too. Right now, only Apple Music supports them natively, but you can see all the animations here on the site. They’re worth it. Each one is designed to match the mood of the song, not just slap a generic visual on top of it.

    Not everything went smoothly. There were setbacks. Technical frustrations. Moments where it felt like one step forward, two steps back. But for every setback, there were three steps forward. And with just a few puzzle pieces left to lock into place, I’m excited about what’s coming.

    I’m not going to sugarcoat it: 2025 had its share of external noise. The clown show in the White House. The never-ending news cycle that makes it impossible to tune out. I’m not here to get political, but I will say this, it’s exhausting. And Publicity taps into that exhaustion without letting it turn into cynicism.

    What I want for 2026 is simple: more connection. Not through social media. Not through platforms that decide what you see based on what keeps you scrolling.

    Just you and me. The music. The stories behind it. The reasons it matters.

    That’s what all the work in 2025 was for. To make 2026 a year where the music shines, and the connection between us is real.

    I’m telling you, 2026 is going to be bright.

    More to come.

  • How My Breakup Anthem Survived Censorship and Found New Life

    How My Breakup Anthem Survived Censorship and Found New Life

    Maybe You’re The Problem: Once Upon A Time…

    There was a pop princess that was loved throughout the land. She came up thru the ranks and wowed people in one genre then shifted to another genre. All the while, she was growing up in front of everyone’s eyes – to a height of 5’10”. Being so public her dating life became fodder for chatting around the water cooler and for the gossip tabloids. She’d bounce from guy to guy, cavorting and having fun. Much as one would do as a teenager in anywheresville the universe.

    Yet, the songs this troubadour was creating dealt with how every guy had done her wrong. That she was a victim of the male counterpart at any given point in her story. Making them out to be “the bad guy” was the m.o.

    At one point in this tumultuous time of her dating life a comedian suggested that a male songwriter ought to write a song from the perspective of a former boyfriend who had been dumped by the songstress. What he went thru. How he felt about it. And then… His response.

    That’s where I stepped in. I wrote just such a song called Maybe You’re The Problem. Recorded a demo of it and made a makeshift music video to go along with it. All in good fun. Posted it to YouTube where a PR friend caught wind of it and posted the link to the video. All of a sudden it went viral! Racking up 10s of thousands of views in a matter of hours.

    Comments started pouring in. Lots of hate filled comments defending the songstress. Others were a bit more jovial, getting the joke and the fact that its only a song and meant to be on the humorous side.

    The song remained in its little silo for a few months getting more views and more comments. Then one day, POOF! It was gone. The video had been yanked from the video site claiming violations of the end user agreement. Or rather violations that were a bit more vague. Honestly, I’m still not clear as to exactly why it got deleted.

    Shortly thereafter a lovely woman wanted to be my manager and suggested that I rerecord the song and pull the reference to the songstress out. I thought, why the hell not. I can do that. No big deal. This manager really loved the song, just not the reference. Voilá the song now exists in the world without the reference to the imaginary songstress. It’s dressed up in new sonic beauty and ready to be shared in the world.

    Which is why you’ve spent time reading this far. Be my royal fan and find you streaming service to press play.