Five Years From Now, Code Will Be Cheap. Judgment Will Not.
As AI reduces the labour required to produce software, the scarce work moves toward architecture, security, verification, domain understanding, and accountability.
0508, 2026
0705, 2026
The Agent: Three Layers of Intelligence for Smarter Playlist Pitching
I Built an AI Music Promotion Agent Inside My CRM – Here’s What It Can Actually DoThere’s a moment every independent artist knows well. You’re staring at a spreadsheet – or a Notion doc, or a pile of emails – trying to figure out which playlist curator to pitch next. You’ve got ten tracks. There are thousands of playlists. Some
0505, 2026
The Fit Score: Ranking 3,500 Playlists So You Don’t Have To
Every playlist submission is a bet. You’re wagering your time, your relationship with a curator, and sometimes money on the belief that your track belongs on their playlist. Most of the time you’re guessing -scrolling through playlists, listening to a few tracks, going with your gut. This post is about replacing that guess with a number. The Problem With “Good
3004, 2026
3,500 Moving Targets: Building the Playlist Snapshot Pipeline
The track pipeline was the proof of concept. Download a preview, run the analysis, write thirteen numbers back to Salesforce. Repeat for every track in the catalog. The playlist pipeline is a different problem entirely. To score a submitted track against a playlist, I need to know what the playlist actually sounds like — not just its name and follower
2804, 2026
The Emotional Geometry of Playlists: From Thirteen Features to Three Scores
The last post ended with thirteen audio features computed from a 30-second preview clip. Energy. Danceability. Valence. Acousticness. Tempo. Key. Mode. And six more. That’s a lot. Too many for the Scoring Engine to reason about directly, in fact. If the goal is to decide whether a submitted track fits a playlist, I can’t ask the Scoring Engine to reason
2304, 2026
How I Built an Audio Analysis Pipeline From Scratch
In the last post, I mentioned that Spotify deprecated their Audio Features API – the endpoint that used to return energy, danceability, valence, and a dozen other musical characteristics for any track. It just disappeared. No replacement. No warning. No timeline. That was the moment this project stopped being a submission tracker and started becoming something I hadn’t planned to
2104, 2026
The Data Model: Why I Put My Music Catalog in Salesforce
After the intro post, a few people asked the same question: why Salesforce? Fair question. Salesforce is enterprise CRM software. It costs money, has a steep learning curve, and comes with the kind of bureaucratic reputation that makes developers wince. It is not, on the surface, an obvious choice for a solo musician trying to get their songs on playlists.
1604, 2026
How I Used Salesforce to Try to Make It in Music (And Why I Ended Up Building Something Way More Interesting)
There’s a saying in investing: it takes money to make money. Music has its own version of that problem – it takes listeners to get listeners. If you’re an independent artist on Spotify, you already know this. I’m a software developer and a musician. When I ran into this wall, I did what any developer would do: I tried to build my way out of it.
0103, 2022
Apex Callout – GET request received as POST
Have you ever tried to address an issue with your code and gone down a rabbit hole? Of course you have. I recently encountered a pretty great one. It all started with this message from the console: Let’s set the stage. The endpoint for an existing integration (Remote Process Invocation – Request and Reply) was performing poorly so the client