As a longtime musician, Nick Behnan searches for the right balance between fantasy and reality.

The Detroit singer-songwriter, multi-instrumentalist, and producer straddles those two worlds on his latest pop-soul single, “What You Got.”

“I think the nature of what I do for a living creates pretty drastic swings of highs and lows,” Behnan said. “I feel fortunate to not have to have a 9-5, but the ups and downs and expectations can sometimes be difficult to navigate. It’s the nature of the beast though.”

Surrounded by hypnotic electric guitar, bass, electric piano, and drums, he sings, “It’s a whole new paradigm / Livin’ what I had in mind / So I keep it movin’ all the time / Until I find / Just what I’m tryin’ to do.”

“The new thing everyone in my business is freaking out about is AI, which could threaten the music business as a whole and especially sync licensing for TV, film, and commercials,” Behnan said.

“Hopefully, the right regulations get put in place before it goes bonkers, but it’s like the Wild West right now. I find it’s the most important to stay creative and productive—it’s also a mindset thing.”

To learn more, I spoke to Behnan about his past releases, latest singles, creative process, summer plans, and sync licensing opportunities.

Q: How has your spring been so far? What’s been inspiring you lately?

A: Spring has been good—thanks! I’d have to say watching my kids grow up and get a little older and more curious about things has been inspiring lately.

Q: You recently collaborated with singer-songwriter and multi-instrumentalist Robert Myers on two EPs, Shock (2022) and Do It All Over (2023). How and when did you come to meet Robert? What do you enjoy most about working with him? How did Robert help you shape the infectious sound of those two indie-rock EPs?

A: I met Robert or “Bobby” Myers back in 2011 when I joined The Infatuations. He was the percussionist at the time and later became the full-time set drummer. He’s since become one of my most treasured friends and writing partners, and we’ve written quite a bit together. He was very integral in developing that sound with me—he’s an incredible drummer and singer! We have a good and easy creative work-flow together.

Q: “What You Got” also features a slow groove along with a sultry bassline and emotive electric guitars. How long did you spend writing and recording the track? What was it like to play electric piano, bass, drums, and electric guitar on it and do the vocals as well?

A: I wrote the bassline and drum groove first for the song before anything else. I wanted that to drive the song. I enjoy playing keys on my music, and I started out playing piano before I picked up a guitar. Vocals are always a challenge for me; I don’t have a very strong vocal, but I can sing on key. The tone of my voice doesn’t always work for everything, especially my more rock-driven stuff. But when I can tell it’s gonna work, it’s fun to experiment because I love stacking my vocals and having two- or three-part harmonies.

Q: Your other recent single, “Can’t Get Enough,” explores the insatiable appetite someone has for loving another and living life to the fullest. From a listener’s perspective, it looks like that track’s optimistic outlook and sound have resonated with fans. How does it feel to rack up more than 32,000 streams on the single since releasing it in December?

A: It feels great to see the song doing so well on streaming! As I’m sure you know, streaming doesn’t pay out well at all. I make the majority of my income from these songs off sync licensing, but it’s also really rewarding to know people are listening to your song for the sake of enjoyment—commerce aside.

Q: “Can’t Get Enough” features a funky R&B sound that makes you want to get up and dance. How long did you spend writing and recording the track? What was it like to play electric guitar, bass, synth bass, drums, and percussion on it and do the vocals as well?

A: Typically, when I have an idea for a song musically, the initial recording process goes fast. I usually know what I want to do with the drums and bass pretty quickly. With the guitars, I spend a little more time experimenting, and the same thing with the synth or any keys parts or layers.

Then, the real work comes once I’ve finished recording and started mixing and mastering. Every tiny adjustment I make in my studio sounds different in my car or on my Bluetooth [device], and I want it to sound good everywhere. I drive my family nuts with that process because I’ll remix a song hundreds of times after I finish recording it and doing the initial mix.

Q: What live shows do you have planned for later this spring and into the summer? Do you plan to perform locally or tour nationally with any other artists as well?

A: This last year, I was the guitarist for the “Hip-Hop 50 Tour: Masters of The Mic” tour playing for Doug E. Fresh, Slick Rick, Rakim, KRS-One, EPMD, and Big Daddy Kane. I also got to play my first arena show in New York, which was a cool experience. We have some more dates with this tour coming up this summer.

I also have been playing for Bad Boy Records artist Carl Thomas. I’ll be doing more shows with him this coming summer. I also work at Oak Grove African Methodist Episcopal Church in Detroit every Sunday with a killer band—one of the best in the city!

Q: Have you received any new sync licensing opportunities recently? If so, then which of your tracks will be featured in upcoming TV shows, films, commercials, and other media?

A: I have a pretty steady flow of sync licensing placements that come in, so I hope AI doesn’t destroy that for me! “Do It All Over” featuring Robert Myers was on a commercial for the new Ford Mustang Mach-E. And that instrumental funk record I did—Bad Sugar—has been getting hundreds of placements in the U.K. and on lots of sports broadcasts in the U.S. as well as shows like Diners, Drive-Ins and Dives and 7 Little Johnstons.