Living off music is not just a dream—for some, it’s a life choice lived wholeheartedly. In this special edition, Massive Music presents an exclusive interview with Pongki Barata, a musician and songwriter who has created many timeless hits. From the stage to the studio, from writing for himself to composing for others, Pongki shares his thoughts on today’s music world, his creative process, and what it truly means to live off your work. A conversation full of insights and honesty for anyone aspiring to walk the path of a music creator.
Let’s dive into the interview:
What first drove you to pursue a career in music, and how did you become known as a popular musician and songwriter in Indonesia?
Honestly, I don’t exactly remember what sparked my interest in music. But since I was a child, I never really stood out in many areas—not in sports, not in school. Music was the only thing I felt I truly understood and had a knack for. I loved listening to music, and that probably naturally pushed me toward it rather than any other field.
Was there a specific moment or song that marked a turning point in your career? Can you tell us about the creative process at that time?
There were several turning points, happening gradually. The first was when I started learning to play guitar. I realized I couldn’t play the songs I heard on the radio—songs by other artists. That made me want to try writing my own songs. Once I managed to create one, I thought, “Wow, maybe I can dream of having a music career.” I was in junior high at the time.
The second turning point came when I joined Jikustik in Yogyakarta—then still called G-COUSTIC. I agreed to join on one condition: we had to start performing our original songs. From the beginning, I wanted to record my own work, with or without a band. So aside from playing Top 40 hits, I asked that we also include my compositions.
Those were my early, semi-professional turning points. The real professional breakthrough came in 2000, when our song "Maaf" was released nationally by Warner Music Indonesia. We started as an indie band, but that release turned us into a national act. It was a major turning point in my life—as a songwriter and musician.
In 2001, I was trusted by Musica Studios to write songs for other artists. That marked the beginning of my professional journey as a songwriter for others under Musica’s wing.
Many see your success now, but not the challenges behind it. What was the biggest challenge you faced in your music career?
There were many, and they came at different stages. Before going professional, the main challenge was presenting my songs to others. I didn’t have the resources or skills to make a demo. I was clueless about where or how to begin.
Once I entered the professional world, the challenge changed. I became afraid: “Can I still write songs as good as before?” There was heavy pressure from the label—not just to write songs, but to write hits. It was mentally taxing.
Being in a band came with its own struggles: maintaining harmony among the five of us, aligning our vision and mission, staying on track together. At that time, I wasn’t thinking about a solo career. Keeping the band intact was the priority.
Eventually, though, I had to admit that I personally couldn’t continue with Jikustik. Leaving wasn’t a sudden decision—it came after years of reflection. When I felt I could no longer carry on, I stepped down.
How do you stay motivated and consistent, especially during tough times?
To be honest, I don’t really think about how to keep my mood up to write or make music. For me, this is the only thing I’m truly good at. Maybe I can do other things, but I believe this is my best contribution—both to myself and to others.
So when I start something, I commit to finishing it—whatever the outcome. If I’ve written one verse, I believe I can write the chorus, the bridge, the coda. Writing songs is never instant—it’s an evolving, ongoing process that often never really ends.
That’s where the producer’s role matters—to know when to stop. As a songwriter, you always feel like adding or tweaking things. But I’ve developed a producer’s mindset too, so I know when to begin and when to stop.
Bottom line: I aim to finish whatever I’ve started. That mindset keeps me going. I keep writing, producing, and singing new songs. I want to master this field to enjoy the results—now or later.
And maybe, along the way, I can help others grow, just as I was helped before. Thoughts like that keep me going—from writing my first song in the '90s, to still creating today in 2025.
As a long-time musician and songwriter, how do you stay relevant and make a living from music to this day?
To stay relevant, I connect with new people—those who are still “hungry” in the industry, hungry for knowledge. I learn from those who share insights about the digital world. I read, I listen to what people are interested in, even things outside music. Sometimes, other interests give useful insights for us musicians. I also stay updated with new tech.
Surrounding myself with the right, optimistic crowd is key. That keeps me relevant and informed digitally.
For music, I also expose myself to genres beyond my usual style—like instrumental or techno—anything tech-heavy. I also study new musicians I admire. When I admire them, I learn from them. That’s how I stay relevant.
Do you have a principle or formula for writing songs that resonate with people and generate income?
My writing formula is simple. First, I must know what I want to talk about. Writing flows better when the topic is clear.
Then, I decide the tempo—it sets the mood. Other elements like melody and lyrics can be refined later. The key is to get the structure first: verse, chorus, bridge, interlude, coda.
Once the framework is done, I dress it up with better lyrics, catchier melodies, harmonies, chords, etc. As I said, it’s an ongoing process—editable before release.
So don’t stop just because it feels off at first. Keep going, and come back to refine it later. If you nail it in one go, great—but always leave room for editing.
With today’s digital era, how do you maximize your music for income? Have your strategies changed?
In this digital age, musicians and songwriters must understand that the game has changed. We no longer rely on cassette or CD stores. Now, it's all about streaming, accessible through smartphones.
I began studying music publishing in 2002, but until around 2015 I hadn’t really grasped it. My focus wasn’t fully there, so many of my songs were neglected and under-monetized.
In 2018, I started organizing my catalog—nearly 200 songs—and placed them all under Massive Music Entertainment. That’s when I began receiving mechanical royalties from digital streaming.
The income wasn’t as big as in the CD era, but this was a start. The potential is greater now, since access is open to all. Per-stream payouts are small, but with massive listeners, it multiplies.
This is the fundamental shift. In the CD era, the multiplier was large; in streaming, the reach is large. Two different games.
Only in 2018 did I truly understand this. During the 2020–2022 pandemic, I was financially saved by mechanical royalties via publishing and performing royalties from LMK.
That experience taught me: when you understand the system, it can sustain you through hard times. And now that I’m already deep in it, I keep going—nurturing my work and watching every detail in this evolving digital landscape.
Who are the most influential figures in your music career, and what’s the biggest lesson you’ve learned from them?
Great question. Since around 2019 or 2020, I’ve been closely observing two idols: Bryan Adams and Sting.
Bryan Adams, for example, started re-releasing his old songs—remaking them into new versions. This way, he owns the new masters. I’ve adopted this approach—it’s very beneficial.
From this, I earn not just as a songwriter, but as a master owner too. Those are different roles, though one person can hold both. Having the master means income from start to finish. It’s not mandatory, but it’s very rewarding—and I’ve experienced it.
Maybe Bryan Adams got this idea from Taylor Swift. Either way, I was inspired by him.
Then there’s Sting—very productive. He releases 3–4 singles a year and often collaborates with other artists. I combine Sting’s productivity with Bryan Adams’ master ownership strategy.
I used to release 1–2 songs a year. Now, I’m doing 5+. There are pros and cons, but right now, this is the best approach for me: remake old songs, own the masters, and release more frequently.
What kind of collaboration do you think is ideal for maintaining quality and benefiting financially?
Ideal collaboration is when both sides uplift each other. If I’m doing a rock project, I’ll invite someone from that world—a rock guitarist, vocalist, or drummer.
They get a pop touch from me, I get their rock vibe. It’s an enriching musical exchange that gives both of us a fresh sound.
These kinds of collabs might not happen again anytime soon, so the uniqueness also comes from the timing and chemistry.
Of course, the song still needs to sound good. But behind that, great collaborations fill in each other’s gaps.
What message do you have for young musicians who dream of making a living from music, especially with the constantly changing industry?
First, know the rules of the game. Where do you fit in? Are you a songwriter? A singer? An indie label? An artist manager? Know your role. And no matter what, you must understand where your income comes from.
Rule #1: Know who owns the master recording. That’s crucial.
Then, understand the royalty system—both performing and mechanical. Know where your money comes from.
Today’s musicians also need to be good at making content. Promoting your music now means being active on social media. Relevant and creative content really helps. I’ve seen firsthand how it boosts streaming.
Those are two key points for new musicians.
For senior musicians: stay spirited and open to collaborating with younger artists. You don’t need to overproduce—try just one song at the start and one at the end of the year. Two songs a year can keep your creative rhythm alive.
And don’t stress about making a hit. Keep creating. As musicians, we’re gifted with something not everyone has. We have a responsibility to channel and express it.
That’s it—I hope this helps.
