Breath Support for Singers (Finally Explained): Why “Sing From Your Diaphragm” Isn’t the Full Truth

In this episode, Sarah breaks down one of the most confusing concepts in singing: breath support. Instead of vague cues like “sing from your diaphragm,” she explains the three real components behind breath support — inhale, pressure, and resistance — and why different styles of singing require different breath strategies. The episode also unpacks why classical training has shaped so many misconceptions around breath, and how singers can stop over-efforting and start listening to what their body actually needs. If you’ve ever felt confused, tight, or unsure how much air to use, this episode brings real clarity.

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Transcript

0:03

If you are tired of not making progress and you're ready to be the artist, you know you're meant to be, you are in the right place. You are listening to the Singers Path podcast. The Path or performing artist training hub will cover everything including singing tips that actually work, advice from top industry professionals and life-changing mindset shifts out with the Starving artist and in with the Thriving Artist. I'm your host, Sarah Bishop, professional singer. Actor, educator and entrepreneur. I'm not afraid to speak the truth and stop the gatekeeping of quality information so you can actually become the artist you dream of being. So let's get on the path, shall we? Even though we're all on our own journeys, it always helps to have a guide. Hello. Hello. Welcome back to the Singers Path podcast. It's me, Sarah Bishop, your host. I already said that in the intro, but just in case you forgot in the last two seconds. That's my name. I've been really feeling like, as I've been doing this podcast, I've been channeling Robin from Stranger Things. I was like watching the series and I was like, I wonder who I am. Am I a Nancy or am I like an L? No, bitch, I'm fucking Robin. I'm 100% robin, like I look like her. I was like, oh. I like that. I love, I love Robin. I think she, I think that actor did an amazing job. Um, anyway, I digress. Today we're gonna talk about some really fun things. I say this every time and it's the kiss of death, but we're gonna see if this actually works this time. I have been saying that this is gonna be a special four part series. Where we're gonna dive into the number one things that I get asked, the top questions that singers have, and we're gonna dive in, give you a punchy rendition so that we can really give you some fucking answers already. Okay. And really help you understand. Sorry, that's my cat. Understand how to. Debunk either some, you know, beliefs you might have about some of these questions, areas of your voice and really offer you some actual support, um, to have a better relationship with your voice when you get these questions answered. Okay, so this is special four part series and we're going to be diving into. A big one, and I'm on live again. I, I like to do podcast live and, um, sorry, podcasts. And do TikTok live at the same time. And today we're gonna talk about breath support. What is breath support? Is breath support important? What do you actually mean? What does that mean? Okay. And is that really important? And like, you know, okay, so the stereotypical thing that I will say that we see in a lot of, we just hear it all the time, right? Like, sing from your diaphragm. Okay. It's not a supported sound. You need more breath support, more support from your, from your stomach, from breathe, from your stomach, breathe. Sometimes you get, breathe from your hoo-ha. Like, like people, they say breath support and it's so incredibly vague and so is sing from your diaphragm. It sounds incredibly vague. What the fuck do you mean? Um, there would be, I remember watching, you know, masterclasses at one of the top music conservatories in the world that I got my BF, A at. And they would say things like breast support and like I literally, I quite literally. Never knew what that meant. I never knew what that meant until I was a teacher and I was like, oh, that's what they meant. Okay. So we're gonna actually talk about what, how to break that down and make that actually like, actionable to you.'cause Yeah, we, we uncover a lot of things about the experience of being a singer and the emotional element, but we also like get technical sometimes. Like this is part of this. So when someone says, I need you to have more breath support. Okay. They could be meaning a couple different things about breath, because breath is like a non-negotiable thing that we need to sing, right? Air is an ingredient that causes the sound to happen because air passes through the vocal folds, which vibrate, and then those vibrations and sympathetic sensations and vibrations will vibrate in your face and your bone structure, and that causes the sound to sound like you. Okay. It's a main ingredient, like we need it. So when they say breath support, I think when you first start to sing, a lot of focus is put on the quality of breath. So again, breath support to get a good quality breath, it's gonna be about. You not raise breathing high, right? So people will say, don't breathe high in your lungs and the top of your chest, and like, have your breath sit lower. Right? Have your breath expand out through your back. Okay? Like these are all. Things that people will say, they'll, they'll breathe through your lip ribs, and then finally they'll say, breathe from your diaphragm. So the diaphragm, just so everybody knows, diaphragm's an involuntary muscle that is below the lungs and basically it moves, kind of push your organs down to make space for your lungs to fill up. Okay. That's what it does. It, it moves so that there's enough space in your body to hold the air. So basically what they're saying when they say breathe from your diaphragm, there's a couple different outcomes. One outcome, and this is just one area of the breath. By the way, there's many areas of the breath that we're gonna talk about here. That could be the very vague breath support note. One element of breathe from your diaphragm would be to relax actually your stomach out so that your organs are moving outta the way and your diaphragm is actually moving to make enough space at the bottom of your lungs to fill up, right? Because the lungs are like a triangle and if we need to get, I can't make it on TikTok life, but your lungs are like little triangles, and so in order to get air to sit in the bottom of the lungs right, we do need the diaphragm to move to make space for the air to fall in. Okay? So when you're breathing high and you're not singing, quote unquote from your diaphragm, okay, that means the air you are only taking in like a little bit of air at the top of your lungs, and that's why they say why you're seeing your collar bones raise and your shoulders raise and. I, I think also though we have to be a little bit mindful of like bodies one I I have some things to say about classical study and how much they emphasize the inhale of breath. I think personally they overemphasize it, but I think also the style of singing opera specifically requires so much more airflow than any contemporary style. Okay, so that's why there's such a heavy influence on it because you do need that coordination, that amount of air to be able to do it right. So hold those big notes, like it's just, it's not a really natural way of singing. Sorry. Nothing about operatic singing is fucking natural. Contemporary music is more natural. Folk music is more country music, blues music, all that, like gospel, all of that is actually natural. Um, but like, yeah, for opera singing, you need more airflow. So when we're learning a proper singing breath. It's all about opera. Think about it too, like I made a whole, like I did this in the summer. I'll probably revive this or make another episode. How I feel like there's some of these, some of these stories about how operatic singing is better or true or more right. As a Western style of music than maybe something more natural that maybe derived from more indigenous cultures or African American cultures, um, like belting or folk music or gospel or blues or jazz, right? And they look at rock and roll, they look at these other styles for a long time as being incorrect, um, because they weren't conforming to their proper singing ways of all of this air and this kind of unnatural singing style. And then there's other people making music. They've been making music all the time, but because it's in like a different class, like you have to invest money, like no matter what, like most people aren't born being able to perfectly sing opera. Okay, so I kind of believe that there's like, like racial undertones and like classist undertones in people's accessibility and able to train classically. And so that's why there's like this wide misconception of like, well, classical singing is the right way, it's the proper way, it's the healthy way. And it's like, well, that's also like the most inaccessible way and it's also the most unnatural way. To sing. It's also the most white way, sorry, hate to say, but it's the way that the Europeans sang. Right. And again, I hope I'm not like speaking outta my ass too much'cause I'm sure there's so much more. But like, I've done a lot of, I've done a lot of research on this. I had to like write a paper about it, thesis paper in my training. But like, I think that like that whole idea that like operatic is superior. Is stemmed in like racial and systemic. There's like, there's historical layers to that because belting you can't, like also, if you're trained in opera and you try to sing pop and rock and you don't know how to adjust, like you're gonna just sound like shit. So of course someone that's coming in with opera training with that much airflow is gonna yell 'cause they're trying to apply something that doesn't fucking work. To a different vocal style. You can't do that. So when we're talking about breast support, that's what I mean. We're, and, and if you're joining on this live again, this episode is about, we're, I'm writing, I'm recording a podcast episode, the Singers Path podcast. So make sure you go listen, make sure you're subscribing and liking. But what we're doing is we're debunking. Like these ques, these common questions, singer questions like, do I need more breast support? What is breast support? Breast support? Breast support. Breast support, right? Like, what is that? And um, so I'm talking about how it stemmed this need to get so much air and relax the body as much as possible to get a proper breath. I think. Came from studying classically, which was again, looked as an elite because it was, you know, not a natural thing and you had to probably pay a lot of money to learn how to do that. Um, what your voice could sound like. Oh, that's also true. Thank you Dan. That's also a really good point. And that's what I mean. I was like, I'm talking on my ask 'cause this is 1:00 AM and this is also very true and this is really important. Um, opera was also taught. Thank you. Thank you, thank you. Was also 100% taught to project in this space because it harnesses acoustics in a different way To project over an orchestra. That's a huge, that's huge. I absolutely should have fucking said that. Absolutely, Dan. Um, that's another main reason is the why it's unnatural, is because you're harnessing all of these, um. You're harnessing like overtones, not press and power, but you're using a different vocal function to cut over top of an orchestra. And when we come down to like fox voice types, um, I think I don't, we might have, we might have a whole, well, yeah, we'll have another episode on this. I'll do another mini episode on this. On voice type. How do I know what my voice type is? But I, I believe that also has to do a lot with determining what your F is like nowadays. F is like Orman alto A contra. Well it'll be a contra alto. People fucking rip me all the time.'cause they're like, there's no such thing as an alto and alto's a coral part. I'm like, bitch. You know what I mean? You know what I mean? Guy shot the fuck up. Contralto is technically the fa part. Um, like lyric, soprano, color, Torah, metzo, soprano, those are all Fox. Um, and. I'll make another clip of this, but it actually doesn't fucking matter what your fuck is. It doesn't fucking matter what your fuck is. Okay. It really fucking doesn't when you're singing contemporary music. But I think it did matter more in opera because also because, and this is what I, people are like, how do I know what I am? Well and fuck, it does have to matter with like what, where your vocal color and sparkle is, but also probably has to do with how acoustically you can cut. Over an orchestra, higher voices are gonna cut. Easier, um, because of the frequencies. So anyway, all that to say maybe we can do something about determining your voice type, but I don't know. I think it's kind of stupid. I think it's kind of stupid and people online get like super pressed about it 'cause I say that openly. So. Okay, so moving on. So more about breast support. So we're talking a great deal about the inhale. My point in comparing like breast support. From an opera lens to a contemporary lens. Is that breath support, like as far as just the inhale goes, you're gonna need a lot more for operatic techniques for the purpose of singing in that style, getting that vocal function to work, and also for the original purpose of cutting over an orchestra. You don't need the same kind of inhale for folk rock pop. It's, I, I teach people to learn the basics of taking a good quality inhale, like taking a more classical inhale. And I don't mean this to sound like I'm shitting on classical because. I res, I respect classical. I don't, I don't relate as an operatic singer because I respect the training that you guys do. So like I'm not, like, I haven't studied and got my fucking master's in Italy to study opera. Like kudos to you, dude. Like I didn't do that. Like I'm a theater singer. But anyway, this is not to rip that, it's just to point out there's differences. There's differences. There's differences. That's why they sound different. Duh. Right? They're not the same. And you, and that's the other problem that people run into. One of the biggest things, you don't know why it sounds bad, because you haven't identified the thing your voice is doing to knock it out of balance. And in this case, operatic singing is not balanced. Singing, it's very heady singing. It's mostly head voice, at least for the higher voices. Um. B, lower voices like tenors and baritones and basses. Their instruments, just so you know, tend to have more chest voice in them to begin with. Like higher vo, like female born voices have more head voice to them. Lower voices have. W chest in them. Okay. They have more of that so they, they don't sing and head the same way. They like mix more in classical music than I would say higher voices do. Anyway, I'm getting off track. We're gonna keep this punchy. So we have the inhale. Long story short, upper inhale filling up to the base of your lungs and dropping your diaphragm is, you're not gonna need to do that as much for folk and pop and rock, and actually, until you learn how to do these other steps of the breast support. You actually shouldn't take that much air if you don't know how to manage it. Okay. We're gonna talk about breath management and maybe reframing breath support as being more focused on breath management, because that's how I would say is actually proper use of breath and like actually what people really mean when they say breath support. One thing that I think is like a kind of common misconception about breast abort is people use abdominal. Like gr like grabbing and like ugh, like gripping and as as talking about support and like sucking the stomach to the spine and like think, and yes, those are elements. What that has to do with is pressure. So that's air pressure. So again, already we're kind of talking about three different elements. When someone says breast support, like what the fuck does that mean? Is that the inhale? Is that pressure back pressure supraglottic or sub glottic? Right? Supraglottic is pressure over the vocal folds and sub glottic is pressure under the vocal folds. So that's what can happen with engaging the abdominals and focusing on. Again, but that's how air is used, right? And then the third thing is what I would say another air usage. How we're harnessing the breath, how the, the breath is passing through the vocal folds to make sound. And with this, this is called resistance, okay? So this is another element of breath that could be construed as support. Okay? So I would say, I think if you follow me at this point, you get this. Don't just like one size fits all singing. Okay. Just don't fucking do that to yourself. You're gonna confuse yourself, okay? Different styles require different things, okay? Learn the basic and then know it can be flexible for your body, what your body needs to sing. The phrase when anybody's like, how much air should I put in? How much breath should I put in for this? Press support however much air your body feels comfortable holding and singing the phrase on. Okay. That's right. Listen to your body, Sierra, hey. Yeah. Another fellow voice teacher. I agree. Yeah. And I think, again, like when I was studying opera, that was the thing, like your voice needs to be bigger. We need more air, more air, more air. And like again, in a different vocal function, sometimes having more air in the tank can actually help with cord closure. Like that element in that. That coordination can contribute to better cord closure, a fuller sound, the type of resonance we're going for. Yes. But in a classical lens now are some things when on the inhale that you take gonna relate to rock and pop. Like when I'm singing so much better from Legally bond, I'm gonna hold that 32 fucking bar cut of that song before and hold that one at the end. That was a ter. It's one in the morning as I'm recording that. That was not good, but. As I'm holding that before and I'm holding that note, I better take a big ass breath. I'm not gonna fucking make it. But what's more important in other styles and actually in any style is how you use the air. So yes, we've talked about like, oh, is breast support in the abdominals? You, maybe you might need to bring your belly belt in the spine a little bit. You might need to feel that kind of like put your attention, your focus on the diaphragm area that might help you. Basic. It's like a mind trick to help you balance the air pressure. Really what it is, it's, or it could be a subconscious cue even for you to be dropping your larynx more, resting your larynx, taking a deep, open breath. Sometimes there's so many connections to the psychology of how your brain works and to get your body to do this like really weird, subtle thing, which is singing this like, it's like the most complex thing you can do is singing like literally the most complex thing you can do. As a human being, it's to sing. Okay? And it's crazy. And so sometimes, again, that cue just to translate for you. It might not be that you're, there's anything wrong with your breath. They might be saying drop and sing and put your focus on your diaphragm to get you centered in your body. And get your lyrics more rested because if you're thinking dropped, another part of your body might release. Right? So when voice teachers or professionals give cue, I, I personally believe sometimes they don't even know what they're asking for, and B, sometimes they're just saying it because they think it's right, or C, they're not really properly communicating, like they're not being specific. And that bothers me for you because you're like, I'm trying to do what you want. I don't know what the fuck you're talking about. Okay, so, so this is, these are these elements of breath, right? So there's inhale, there's pressure, and, and then resistance. How do you use the breath? And then based off of resistance and pressure, that's gonna affect resonance along with shape and your mouth. Okay? All of that is what? Forms the sound and it's pretty cool, right? This, this whole mechanism, like the voice is a machine. It's like this mechanism of like police systems, of like your vocal folds, like stretching and thickening and you know, your feelings like narrowing and the lyrics raising and lowering, and the tongue being connected, like it's quite a complex little machine. Um, it's pretty beautiful actually, and it's actually fucking wild that we're able to make these sounds with literally muscle, air and shapes of our face. Like that's ultimately if we're gonna like grossly oversimplify it. That's what it's um, let's talk about one more element that I kind of just breezed over. I did talk a little bit about the pressure aspects, right? So we have inhale, we have air usage, which is pressure and resistance. So with pressures, right? Subglottic, supraglottic, I wouldn't worry about that too much. Beyond. If you have too much subglottic pressure, I'll say this, if you have too much subglottic pressure, like you're squeezing your belly in, it'll kind of feel like you're, like you're trying to flip a table. And it's kind of this squeezy thing. And I will say, personally, on my O vocal journey, right now, I'm dealing with a fucking pesky ass little squeeze.'cause I was belting a lot and I also have some, I think some nervous system response things I'm like dealing with. It changes in my life. So like sometimes our system can get activated and then that can sabotage our sound. But anyway, subglottic pressure, like, and muscling on things feels fucking terrible. So zero outta 10 recommend. Um, so if you have too much sub, so think, think about singing. Here's one other thing I'll say. Think about singing as the rule of opposites. Okay, I'm gonna say that again. Think about singing. As the rule of opposites. I've mentioned this in other episodes, this is true balance. Wherever we're off balance. To get back on balance, we give it the opposite. Okay? So if we have too much sub glottic pressure, that means we need another kind of pressure to balance it. Too much sub glottic pressure underneath the folds. We need to add super glottic pressure. So then how do we do that? Superlo pressure is pressure again, coming down over the folds, so you can think like, it's actually more of like a mental cue than anything. This is very advanced guys, by the way. If you're like, what the fuck? Um, that's okay. This is advanced. Um, superlo. If you have too much superlo pressure, it'll kind of feel like the sound is like bottoming out, and if you have too much sub glottic pressure, it'll feel like, like it's squeezing from the bottom. So if you. To counteract too much sub glottic pressure, like too much of that squeezy, you gotta think. You gotta think like singing down through the sound, like a tube. If you were looking at me on TikTok live, I'm like taking my hand and I'm like tracing it like straight down my body. Like the chakras, like I'm like coming from my head down my body. You can think of placing the sound down through the tube, right? And I hate that placing the sound, but like when it gets advanced like that, like that's kind of what you gotta think. Okay. So. So too much squeezy, constipated, butthole, squeeze sound. Okay, sorry, that's not professional, but tonight I'll be, tonight. That was way too squeezed. But like you are not even donating. That's like muscle dysphonia right there. Um, way too much subc body pressure. Um, okay, so, but if you're squeezing, come over the top of the sound tonight. So then you're basically getting more airflow. Okay. If, if again, it sounds like it's bottoming out, you have too much super glottic pressure, then that's when you would in its own kind of like, it's just bottoming. It just doesn't feel like it has legs to it. Then you'll think of maybe a little bit of belly button to spine there. Let's give it a little bit of sub glottic. Let's give us a glottal stop. Okay, let's think of like in rock music, um, there's something called compression that you can actually do, which is almost in a way, like compressing it like some, like a producer would compress it. But, um, it's, it's, you're doing it like acoustically and part of that involves a mixing mixed belting, but also using a little bit of extra sub glottic pressure to kind of trap the sound. And if you ever listen to like punk rock singers sing, um, first of all. Like, yes, they use air, but they kind of trap the air and the sound with a subglottic, huh? Kind of sound. And that helps keep it actually kind of compact. And they actually exhale a lot less than you would think. So they might take a lot of air in, but they're not blowing it all out, I'll tell you that. Okay. So, um, anyway, I'm, I'm throwing a lot of fucking technical terms out, so if this like really went over your head and you're like, bitch, I just wanted to know how to sing from my diaphragm. Well now, you know, it's a little more complicated than that. The final thing I'll unpack here. In this punchier episode is resistance. Okay, so resistance can do with sylo pressure and superlo. They're all related, bitch, right? Like it's all related. It's all the same mechanism, but resistance is particularly at the vocal fold level. It's how the vocal folds themselves resist the air. How is the air moving past and through the vocal folds? Okay, so. So with this, there's different ways you can find resistance. If you're a breathy singer, we're gonna have a whole other episode on this, how to stop singing Breathy. So actually, I'll just like really briefly touch this and we'll get way more into it later. But if you're a breathy singer, this is why, because you probably are taking in a lot of air. And you're blowing it all out and your little flappy vocal folds are not, they're not doing anything against it. They're doing something, but they're like, ah. They're like, you gotta leak. You're fucking hemorrhaging air. And your muscles, your vocal fold muscles are not working it. They're not working in house as they should, girl. Okay. That's why it sounds airy. Now in the next episode of all the things that singers really want answers to, um, we're gonna talk about how to fix that. Okay? Now I will say one thing here if you like at all, what I'm putting down. First of all, make sure you like and subscribe the Singer's Path Podcast. Make sure you're following it on Apple Podcasts. You are. Um. You're sharing it with your friends. If you wanna leave us a five star written review and take a screenshot of it, if you email it to us at singers path@gmail.com, we will enter you to win a free lesson with me, which I love, obsessed related. Thanks. Um, so send that to us and we would love that. And we'll enter you to win a free lesson. Love to connect with you, Uhhuh. Um, we'll do a drawing ever either like. Semi-annually or like quarterly. I would like to do quarterly. It's just a matter of like my schedule if I can. And then the other thing I will say is, if you like at all what I'm saying, especially as we get into these other episodes and you are curious, like, you know, I've mentioned like, you know, rule is the singing is the rule of opposites to to mix. You have to know what's causing you not to mix. To get vocal balance, you need to know why you're not balanced. If you are missing that piece, you don't know what the fuck to do about it. You don't know how to do it. Okay, listen to the Discover Masterclass or the mini course, sorry. Discover Mini Course. It should be linked in my bio. Um, if you're listening to me on TikTok Live, it's definitely in my link in bio, um, on my homepage. And if you scroll up on the show notes, that's definitely there. That's in. It's an incredibly insanely low price for basically teacher training. It's not, it's not teacher. I can't teacher train you, but what we're basically doing is teaching you the information that voice teachers know. You're basically becoming your own voice teacher. You're learning how to detect, hear, and understand your own voice. So that you know what's off and how to fix it, or at least get started in the right direction of like, okay, I need to focus on this area of my voice. Okay. So that's what the Discover mini course is. Um, it's incredible. It's, uh, people on every continent have watched it. It's pretty wild. So, and it's super accessible because I think that information definitely needs to be out there. Um. So, yeah, and you can watch it a bunch. You could take notes on it. You know, there's a PDF that teaches you like the tools that you can use. That's part of it. Um, and also, unfortunately, if you're listening to the podcast, if there's still spots available for this, if like the time this comes out, there's spots, there'll be a link below on the podcast. If there's no spots, then sorry, it's like registration's closed. But if you're on live, I'll tell you this group lessons are now. Live registration for group lessons. If you wanna work with me, that's how to do it. Okay? So if you like what I'm talking about, if you're like, shit, this bitch knows what she's talking about. Let's go and you wanna work with me, and you're like ready to fucking grow, bitch. You're ready to feel really good about your voice. You're ready to sing what you wanna sing. You're ready to train your ears. You're a teacher. You wanna be a better teacher by listening to other singers. Watching another teacher work with singers, getting worked on by yourself like, like you want one-on-one attention, but like at a fraction of the price that it would be to take with a top teacher in New York, guys, taking a private lesson with a teacher in New York is like 250 plus dollars an hour. Okay. I think the group lessons come out to like 50 a class like, and like you get one-on-one attention. And listen, if that's too expensive to get attention from a top teacher, there's other resources, baby watch, discover. Okay, that's a lot of info. Take a private lesson. We have associates, we have Lily and Jeremy. We have people to work with. Different tiers, take a half hour with them, but honestly, their half hour is not gonna be that different from taking group lessons. Sorry about it. Right? Like I said, top teachers charging over $250 an hour. A hundred percent okay. Because they're, they're valuable. They know shit. We know shit. I've, I spent thousands of dollars to learn this, right? So this is another way to make it accessible. If you want help, you want personalized help. That's how you get in. Unfortunately, again, if you're listening to the podcast, um, I'm not sure that that's still available anymore, but if it isn't, maybe make sure to join the wait list, because joining the wait list, you'll be the first to know next time the. The registration is open. And then also make sure you have the prereq pill pillars.'cause pillars is a prereq to do it. So if you're watching, if you're watching the po, the um, live right now, just know that if you've never been my student, you do have to have pillars to join. But there's also a bundle. You can do them together. So up to you. Whatever you're able to do, okay? You can either get the bundle or you can just get pillars and join next time. I can't guarantee the next time I'll be doing it 'cause of life stuff. But anyway, if this is, if you're drawn to me, if you like what I'm putting down, just get your ass in class and I'll see you. Let's make some progress, okay? And if you're on the podcast and you miss the opportunity to register, I love you. I'm sorry. Go watch, discover, register for the wait list. I have many things to help you in the meantime, and I'll connect with you next time, okay? Just make sure you don't, you get your emails, okay? Anyway, I love you guys. I'm gonna pause. I'm gonna stop this episode. I'm gonna keep recording on live and we're gonna go to the next part. I'll see you next time for the part two of how to Stop Singing Breathy. That might come out as part two. That might be three. I don't know. We're gonna get to more of these, these much Wanted singer answers, singer questions. Okay, I will see you next time. Have a good one. Bye-bye. If you enjoyed this episode, please leave a five star written review on Apple Podcasts. This helps me get this information out to more artists all over the world. Let's work together to spread the joys of music. Until next time, I'm your host, Sarah Bishop, signing off from the Singers Path podcast. Thanks for listening.