Spotted on: Gar Lives
Steve Albini speaks about DIY music promotion and bands operating in the music business.
Tag Archive for 'Entertainment'
Spotted on: Digital Music News
Digital Music News bills itself as “the news and information authority for music industry and technology executives. Our readership is a … digital music executive audience representing … traditional labels, music subscription and download stores, online music stores, digital radio companies, P2P applications, legal services, portable mp3 player manufacturers, and micropayment firms, just to name a few”
So far, approximately 38% of fans have bought the new Radiohead album In Rainbows. Considering that Radiohead reaps 100% of the profits, they’re probably making more than they did before.
“According to the data, 17 percent [of fans] paid an average of $4 for the album, while 12 percent paid between $8 and $12…Radiohead sold well past one million units on the album.” If the numbers above are accurate reflections of what people are paying, the total rake for this album so far is a significant amount of money. And in short span of time.
“The result deflates the excitement surrounding the effort, heralded by many as a groundbreaking model. It also challenges the levels of loyalty that established bands can expect from longtime fans.” How does this deflate the model? If a million people buy an album they can get for free, doesn’t that show there’s still a demand? Apparently even when music is totally free people still choose to buy it. The only group of people disenfranchised by this development are major labels, who will be forced to abandon almost all artist development and marketing models in the face of this trend.
“Elsewhere, large numbers of fans continue to grab the album outside of the Radiohead website on free file-sharing networks, another unexpected development.” Unexpected? How can anyone who follows the current industry trends see file sharing as an unexpected development?
Kudos to Alexandra Osorio on having a detailed breakdown of the sales of In Rainbows. As far as the analysis goes, its obvious who their readership is when they call file sharing of In Rainbows unexpected.
Spotted on: The Long Tail
Chris Anderson deserves a parade in his honor.
This brilliant post completely uncompresses the major label view of the music business with the actual music business.
“…it appears that every single part of the music industry except the sale of compact discs is up.
- Concerts and merchandise: UP (+4%)
- Digital tracks: UP (+46%)
- Ringtones: UP (+86% last year, but probably just single-digit percent this year)
- Licensing for commercials, TV shows, movies and videogames: UP (Warner Music saw licensing grow by about $20 million over the past year)
- Even vinyl singles (think DJs): UP (more than doubled in the UK)
- And, if you include the iPod in the music industry, as I’d argue a fair-minded analysis would: UP, UP, UP! (+31% this year)”
With statistical data to back up the claim, it’s clear that all the hoopla around the death of the music industry is a death cry form major labels. They could revamp their business models, and in fact they could have ten years ago when they knew this was coming. It’s as if these major companies have absolutely no relationship to reality.
The end of Chris’s article seems almost directed to this blog: “…for those who say that this avenue [giving away all music free] is only available to artists at the head of the curve…I’d point out that the other group poorly served by the labels are those at the bottom of the curve…”
As the major labels fail and become some new form of entertainment companies (most likely a clearinghouse for content or booking agencies), music will lose almost all of its value. Once we (the audience) are no longer pressured to buy, or told we are criminals for our actions, music will begin to regain its value.
While touring and swag are viable outlets for artists to generate revenue, the question becomes: where can smaller artists play, and is gigging still viable?
What is your take on the state of music sales, given this exciting and inspirational update on sales figures?
Lately I’ve notice that there are musicians and artists that are tuning into this frequency, so here’s something for you to consider:
The future for musicians looks like more than just great recordings and live shows. The opportunities that the internet provides modern artists is available to everyone, and thus its potential is diluted. One powerful tool in creating buzz around your project or career is to get noticed. And one way to get noticed is to generate interest in who you are, and what you’re saying. in other words, creating and maintaining a conversation with your audience.
Pop culture can overwhelm us with the personal lives of famous people, and annoy us to no end with the antics of celebrities. Billboard has an excellent article on the effect of this kind of marketing on the careers of the ultra-famous. Keeping themselves in the public eye is a critical element to the careers of these top tier entertainers. Even bad press is good press for them.
For the independent artist, this same technique can yield different results. We can expand our scope and reach by generating attention for who we are, and what we have to say. Marketing a personality is nothing new. Here’s an article from Time Magazine in 1978, looking at the same methods and issues we are discussing today.
Once you have fulfilled your artistic vision, and you’re putting yourself out there, the make-or-break factor in success becomes notoriety. While having ten thousand friends on Myspace seems like a powerful promotional tool, does it really measure anything other than the number of people that landed on your page and clicked add me?
One of the most effective tools for creating a buzz for yourself, your project, and what you’re up to is blogging, and blogging often. If you are anything like me, you spend at least some of your week surfing the internet and consuming content. You have sites that you visit regularly. Consider that what keeps you coming back to a site is the steady stream of new and interesting content. Content that speaks to you.
A healthy career is grown through a fanbase. Radiohead, Nine Inch Nails, Prince, and Madonna are able to free themselves from major labels and even give away their music because their fans are loyal, and people are tuning in.
While it may seem like the forward momentum is slow, steady and regular content on your project webpage, blog, or social networking page is critical to bring people back. And the more time people spend on your sites, the more interested they will be in supporting your cause.
I am guilty of not providing a steady stream of information on my blogs at times, and it impacts my return traffic, and the hype around my own projects and Polyvibe. I am preparing to condense this blog with my personal blog, providing the same great content with half the work. Like Uncle Scrooge says, work smarter, not harder.
For any artist who is committed to bringing viability to their career, having a powerful voice, and keeping the conversation going are critical elements to success.
I invite you to comment on this post with your opinions. If the waters ripple, we’ll talk more about creating a cult of personality, the results people are seeing from this kind of grassroots marketing, and methodology that can be implemented to increase your results.
Inspired by: The Seminal
Having seen this post a couple days ago, I feel compelled to put my two bits into the future of albums. It is true that Prince gave his album away in a newspaper, and that Radiohead is breaking new ground with their latest album (for those of you living in a cave, you can choose how much you want to pay for the album).
Animosity toward major record companies is growing faster than US citizens contempt for their government (I’ll refrain from linking out to anything here). The entertainment industry is entering what is known as a paradigm shift. It’s a blessing that international acts who have sold tens of millions of albums are bucking the existing system, and thus speeding up its downfall. Once the major labels are gone (or reduced to distribution entities), a new paradigm for the music industry will emerge.
I’m going to speculate on two different future paradigms for the entertainment industry.
In the bleak future, there are almost no major studios, and there are only one or two companies making high end studio gear. In this future, albums are considered such a small part of an artist’s career that the effort and attention paid to them diminishes. A professional musician becomes someone who tours and sells merch exclusively, while the number of live venues and outlets for performance shrink exponentially (Have you heard what is happening in orchestras?). As internet streams and access to media continues to increase, the value of going to a live show also drops. In this future, there is zero market for music as a commodity. Almost all musicians become hobbyists, and only artists with marketing budgets to swamp the internet garner popularity. Most musicians will no longer believe that they can live their dreams, and less and less of us will be willing to take the risks that it takes to generate rampant success. In this future, acts like Metallica and Radiohead will continue to make money – their touring and merch machines can support a massive infrastructure.
While this future is depressing, it is not the future we are living into culturally. Major acts are taking actions now that will ensure that the market for music opens up, and are creating an environment where any artist can create success with dedication and commitment. In fact, going back to Radiohead (check out the comments on this article), fans are embracing the opportunity to support an artist, and are buying the album.
Depending on how you look at things now, you can say that albums sales are bottoming out, or you can say that the imbalance of major label influence is being removed from the sales figures.
The future we are actually living into (in my humble opinion) is one where albums sell, and fans want to buy music they love. Most of the animosity toward buying music has to do with pricing structures and that major labels take most of the money. Even though people can download anything they want for free, albums are still selling. While the value of albums may drop, the percentage going to artists will increase, balancing out the pot for artists (the only party that fans care about anyways). A billion downloads is not a coincidence. A la carte downloads are novel now, but just like a six pack is far cheaper than buying one can of soda, the value of buying an album will follow the same path.
We can look at the actions of multi-platinum artists as a litmus test for the music industry, but they do not represent most artists. Gauging the future of album sales on artists who have sold millions of albums is no different that gauging the future of album sales on major label methodology. The typical mid level artist has neither the resources nor the clout to write off the value of albums.
There will be a shift in the perceived value of music by fans, too. Once DRM goes away, and people stop trying to litigate file sharing away, audiences will begin to give up their resentment of buying music. With software, file sharing is also rampant. Yet software companies are selling enough units to stay in business.
People value things more when they buy them. A hard drive filled with downloaded music
will never go away (and is there any of us who have no mix tapes or downloaded songs?
While the current environment of corporate pressure raises hackles, audiences want great albums to listen to. We just don’t want to be told we’re criminals.
The future of music lies in respecting the choice of the audience. If people don’t want to buy an artists music, but they want to listen to it, more power to them. As long as they enjoy it. If people love music, they will buy it.
On a final note, we of the Polyvibe are putting our music out on p2p networks. Feel free to enjoy it. If you like what you hear, support the artists.
*The opinions expressed above are my own, and are intended to provide a perspective outside of mainstream music industry types. We are committed to creating a conversation about what is possible for the future of music outside of mainstream perspectives.
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