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.