Cabrea Casey Pulls Back the Curtain on Publishing: Essential Lessons for Independent Artists

In the music industry, the creative magic of songwriting often collides with the cold, calculated world of rights management and publishing splits. Cabrea Casey, the Director of A&R and Sync at Downtown Music Publishing, has spent more than a decade navigating this intersection. In a recent appearance on the One More Time Podcast, Casey shared a candid and informative breakdown of how publishing actually works, the most common mistakes artists make, and the ways independent creators can protect their rights without killing the vibe in the studio. Her advice is particularly crucial in an era where one bad call on paperwork—or one unresolved split—can cost a songwriter their entire payout from a hit.

“Publishing should really be reserved for the people that are creating the intellectual property,” Casey explained. “Not just the people who played on the song or were in the room, but the ones who actually contributed to the writing and structure.” Throughout the conversation, Casey emphasized that understanding the nuances of publishing isn’t just for industry vets. It’s essential knowledge for any artist hoping to make a living from music, especially in today’s fragmented and streaming-driven landscape.

Splits, Sync, and the Cost of Poor Communication

One of Casey’s most urgent warnings to young artists and writers revolves around the chaos that can follow when splits aren’t clearly agreed upon. While some studios treat song ownership discussions as taboo during sessions, Casey argues that delaying those conversations can lead to far bigger headaches. “If the song comes out and people are still arguing about the splits, you don’t make any money off of it,” she said. “That song just sits there collecting dust until everyone agrees—and sometimes that never happens.”

The issue becomes particularly critical when it comes to sync licensing. For a song to be used in film, TV, or advertisements, every rights holder—both on the master and publishing side—must approve. Casey gave a cautionary example: “Say Adidas calls and wants to license your song. You own 95 percent, but the other 5 percent belongs to someone you had a falling out with. If they’re unreachable or refuse to sign off, the deal’s dead. That 5 percent controls everything.” For that reason, professional sync writers often limit the number of collaborators or ensure agreements are locked down during the session. In some cases, writers even ask contributors to waive their approval rights, allowing a license to move forward without individual sign-offs.

When to Talk About Splits—And How to Keep It Cool

Addressing splits too early can kill the creative vibe, but waiting too long can cause legal problems. Casey advises a middle ground. “Have a check-in at the end of the session,” she said. “Figure out whose team is involved and just talk about how the song came together. It doesn’t have to be awkward. It’s just business.” In cities like Nashville, even splits are a cultural norm, but that’s not always the case in Los Angeles or Atlanta. The key is transparency—an honest, respectful conversation about who contributed what.

Split sheets are an artist’s best defense. Whether printed or sent digitally, these forms allow all writers to document their full names, roles, PROs (Performing Rights Organizations), and percentages. Ideally, they should also include each person’s IPI or CAE number to avoid confusion. “Even just an email chain where everyone agrees to the splits can help if a dispute comes up later,” Casey said. “It’s not about being corporate—it’s about protecting yourself.”

Too Many Cooks: How to Manage Large Writing Teams

One of the modern quirks of songwriting is the seemingly endless list of names in the credits. Casey attributes this to how songs evolve through multiple hands—one producer builds the beat, another reworks it, a top-liner adds a hook, then a featured artist writes new verses. “A song can have a lot of writers without everyone being in the same room,” she said. Add in interpolations or samples, and credits can swell fast. “Look at Beyoncé’s ‘Renaissance’ album. She sampled and interpolated a lot of house music intentionally to honor those creators, so naturally their names are now on her songs.”

While collaboration is important, Casey urges artists to draw clear boundaries. Not everyone who touches a snare deserves publishing. “You really have to ask: Did they contribute something original? Did they bring a perspective that wasn’t already there?” she said. She recounted instances where a producer would bring in a musician to play a part—only for that guest to later demand publishing, sometimes because they were secretly affiliated with the producer’s publishing company. “It’s not always malicious,” Casey said, “but it’s important to be aware of who’s really contributing and who’s just in the room.”

Publishing Deals: Admin vs. Co-Pub and Knowing the Terms

Casey also broke down the difference between two common publishing arrangements: administration (admin) deals and co-publishing (co-pub) deals. In a co-pub deal, the songwriter typically gives up a percentage—often 50%—of their copyright in exchange for an upfront advance and hands-on creative support. The publisher becomes a business partner in the writer’s catalog, setting up sessions and advocating for placements. “The reason to do a co-pub deal is you’re getting the machine,” she said. “They’re investing in you, giving you the resources, putting you in rooms you wouldn’t have access to otherwise.”

By contrast, admin deals don’t involve a copyright transfer. The songwriter retains full ownership while the publisher handles registrations, royalty collections, and backend logistics. Advances for admin deals are typically smaller, but they’re also lower risk. “It’s a service,” Casey said. “Not a partnership.” She’s only done admin deals during her five years signing talent, preferring the flexibility they offer to writers who still want creative freedom.

Red Flags and the Role of a Good Team

When it comes to signing publishing deals, Casey stressed the importance of reading the fine print and recognizing predatory terms. “If the term is too long, or they’re asking for rights they don’t need, that’s a red flag,” she said. Artists should also be wary if the other party is applying unnecessary pressure to finalize a deal quickly. “Anytime someone says ‘We need to get this done now’ without giving your lawyer time to review—run. That’s scammer behavior.” She explained that in publishing, there’s rarely a legitimate reason for urgency, and creators should always insist on having proper legal oversight before signing away rights or royalties.

While having a manager, lawyer, or other representative is important, Casey also cautioned that artists should not become passive in the process. “Be on BCC. Know what’s being said. That person represents you, and they can’t advocate for your interests if you’re not looped in,” she advised. In her experience, young writers can sometimes find themselves in bad positions because they relied entirely on others to handle the business side. Staying informed allows artists to step in if their team negotiates terms they’re not comfortable with—something that can preserve relationships and long-term opportunities. Ultimately, good deals come from awareness and alignment between an artist and their team.

Getting on an A&R’s Radar (Without Knowing a Guy)

One of the most common questions Casey hears from aspiring songwriters is how to attract the attention of a publisher like Downtown. Contrary to popular belief, it doesn’t always require knowing the right people. The most consistent path, she explained, is simply by making great music and getting it heard. “Post on TikTok. Play shows. Write with other people,” she said. In fact, Casey has discovered new talent through nearly every modern channel, including viral TikTok posts, opening acts on tour, and songs circulating through friends and colleagues. “You don’t have to be in my friend’s cousin’s band,” she joked. “If your music is hitting—and especially if the data is hitting—it’s going to find its way onto my radar.”

However, while strong numbers can help, Casey pointed out that relationships and collaboration still play a major role in discovery. “If I already work with a writer, and I see them doing great work with a collaborator, I’m going to pay attention,” she said. Networking and collaboration not only expand a writer’s creative output, but also help bring their name into new rooms. As Casey explained, staying in a creative bubble can be a career-limiting move. “You should be collaborating,” she said. “If you live in your own bubble, how are you ever going to be on the radar of someone who knows your collaborator if you don’t have one?” For artists willing to be active and intentional, opportunities often follow.

Why Camps Work and Being a “Session Saver”

Songwriting camps have become an increasingly important tool for both networking and creative output, and Casey is a fan of the model when it’s done right. “I love songwriter camps,” she said. “I think camps can be awesome if they’re run well and the rooms are set up intentionally.” More than just a writing exercise, camps often foster deeper relationships through shared experiences—whether it’s hanging out between sessions, grabbing meals together, or bonding over shared interests. “There’s an additional layer of bonding that happens,” she explained. “It makes it more likely that you’ll want to work with those people again, and that the music you create will be stronger because of that trust.”

Beyond the social dynamic, Casey emphasized the importance of preparation. Writers and producers should come to camp with a toolkit of ideas, ready to keep the creative flow moving. “Bring beats. Bring concepts. Be the person who saves the session when it hits a wall,” she said. Having a few strong ideas can quickly establish a writer as a leader in the room—and that reputation can lead to more sessions and better opportunities down the line. “Sometimes the person who’s prepared becomes the one everyone wants to work with again,” she noted. In a competitive industry where vibes and energy matter as much as talent, being both likable and prepared is a major asset.