Inside Publishing: Drew Danburry Discusses His Career, Success & the Publishing Industry

Other artists may fixate on sticking to a predetermined image they have of what their career should look like, but Drew Danburry has no time for such useless considerations. You might know Danburry from his “day job” as the lead singer and guitarist of Baltimore’s Icarus Phoenix. The band had a monumental 2024, releasing several singles and the album I Should Have Kown the Things You Never Said in August. They recorded 40 songs in only three days at June Audio in Provo, Utah which they have turned into several releases since. The momentum has carried over into 2025, with Icarus Phoenix already having released the singles “Shallow Water” and “Pedantic Myopia.”

Before the new year came another special release from Danburry with the December release of Bird Songs. This might be the most unique release of Danburry’s extensive songwriting career. The concept behind the six-song EP is that of a children’s story and musical EP. This project is near and dear to Danburry, and he has been working on it for 20 years. He finally got it to a place where he was satisfied, and the result is one of his more eclectic career achievements.

Today, we are joined by Danburry for our Inside Publishing interview to discuss the commercial side of publishing, the place of artistic merit within the industry, and how he views his success.

Do you think traditional author development is fading, with publishers more focused on instant sales than nurturing long-term careers?

Drew Danburry: “Absolutely. It seems like DIY culture is being crushed under the weight of social media. The most disconcerting thing is the general acceptance people have of the thing we all know is a lie. How often people communicate, how easy it is to buy followers, plays, etc., but then in the same conversation, turn around and say ‘Oh wow, they have this many followers/plays” as if it’s a sign of legitimacy.”

Do you believe the responsibility for an author’s growth now lies more with the authors themselves, or should publishers and agents still play a significant role in shaping careers?

“Again, yes. It seems like the world revolves around this concept that a person puts in all the work to make themselves known, builds a brand, and then a publisher/agent/manager/label swoops in and, depending on how you look at it, takes a cut of all your hard work or takes a person to that next level. It’s really a matter of perception, I suppose. But no one is coming in to help you. You’re on your own.”

Drew Danburry ‘Bird Songs’ book sample

Drew Danburry ‘Bird Songs’ book sample

How do you balance the commercial side of publishing with your passion for writing?

“I don’t. I just make art that I would like to see in the world. If I had a dollar for every time people have asked me who I’m trying to market to, I would be rich. The idea that I’m thinking about my ‘market’ before I make a piece of art in any form really rubs me wrong. I make authentic pieces of self-expression. Whether it’s art or not is not mine to define. Whether someone buys it is irrelevant. I simply want to make something for the world. Whether it’s ignored or not isn’t really in my power. I want to make it the best I know how and walk away.”

How important is it for authors to take a stance on social or political issues in their work?

“I personally feel like everything is political no matter what. ‘Taking’ a stance tends to push things more into a realm of propaganda. I’d prefer to make something true to myself and let others interpret it.”

Do you think there’s too much pressure on authors to be ‘content creators’ in addition to writing?

“I do, and it becomes a distraction to the real purpose of the artist. It takes away from what really matters, in my opinion. No judgment to anyone who does it, because I do it as well. But I try to be extremely mindful of how I engage online so I don’t lose track of the core reason why I’m doing what I’m doing. Everyone I know who participates in content creation tends to burn themselves out and exhaust themselves. It then taints the artistic process itself. As far as I’ve noticed.”

How has your definition of success changed over the years? Is it still about sales and recognition, or have other factors become more important?

“The only factor that matters to me now is making something to share. I definitely hoped to have some form of attention that would facilitate an artistic lifestyle, but now I simply appreciate the fact that I live in a world where I am capable of making and sharing art. If I have to kill myself at a 9-7 job to do it, it’s worth it.”

Drew Danburry ‘Bird Songs’ album artwork & book cover

In retrospect, how much of your success do you attribute to hard work versus being in the right place at the right time?

“Both matter. But, ‘right place at the right time’ will always reign supreme. There are factors that played into my ability to create things that were completely outside of my control. You have to do the work. You have to be active, but it’s really out of a person’s control. I firmly believe that. So, fighting for success seems like a hedonic treadmill and not worth the effort. Make the art. Share it. Move on. If you get connected with the right people at the right time and it happens for you. Enjoy the ride.”

Do you think the literary industry prioritizes profit over artistic merit, and do you believe it’s stifling creativity in favour of commercial hits?

“Of course. That’s why you have so many first-time authors, musicians, etc, who have lots of followers. If a person has 100,000 followers, an industry person knows they can put a couple thousand dollars into a project, and they’ll make their money back. It’s a sure thing. Why risk it anywhere else? I don’t blame anybody for that. It’s smart business.”

Drew Danburry, photo by Jefferson Liu

Drew Danburry, photo by Jefferson Liu

Do you believe the resurgence of physical books, like vinyl, is a passing trend or a permanent shift in consumer behaviour?

“I think the pendulum shifts back and forth. Patterns cycle. There’s something about physical media and collecting that people enjoy. We are hunter-gatherers at our core.”

How do you think the rise of AI-generated writing will impact the careers of human authors?

“I can’t wait. I’m sure it’s scary for people who have a career and feel like they deserve it. But I have a soft spot for old series like The Hardy Boys and The Avenger by Kenneth Robeson. A lot of those old book series were a cut-and-paste format that’s fun and easy to read. I obviously like books with more depth, but it’s fun to cruise through a simple mystery novel with cliche twists and cliffhangers. So, I imagine AI writing will nail that kind of format and lock it in. Meanwhile, good authors can keep up the good work.”