He plays as a salaried member of multiple bands, and also derives significant income from solo performances. He writes, sells CDs, does session work, occassionally teaches, and seems like he’s on the road non-stop. And he also doesn’t have health insurance. read more
[…]The good news, perhaps, is that there are more ways than ever to bring in cash. Artist lobbying group The Future of Music Coalition revealed at Austin the results of its two-year research project into how artists make money. Jean Cook, one of the architects of the project, specified Saturday to Pop & Hiss that no single artist is, of course, benefiting from all 42 potential revenue sources that her group has identified. A classical artist, for instance, may have access to only two or three, she said, whereas a singer/songwriter may be able to pull from as many as 25 different sources.[…]
Everyone is always talking about the artists’ team, the critical support structure that helps spread the music and manage fanbases. But when it comes to successful artists, the most important and well-paid members are lawyers and accountants - then the webmaster, booking agent, manager, and everyone else.
The Future of Music Coalition recently interviewed thousands of artists about the composition of their team, and this is what a few hundred, high-earning artists said. These are full-time artists making more than $100,000 a year with over 90% of that coming directly from their music. And outside of the band members themselves, these were the roles designated most (in terms of the percentage of respondents indicating that these people were members of their team). […] read more
[…]Case studies from the Future of Music Coalition’s Artist Revenue Streams project have been released. That means you can check out detailed financial situations from a jazz bandleader-composer and sideman who occasionally leads bands. Previously on the subject.[…]
Musicians are musicians because they play music, not because they love accounting or managing Facebook pages. But in the current climate, artists are now forced to play more roles than ever - and their art is often suffering as a result.
According to survey information just shared at SXSW by the Future of Music Coalition (FMC), more than half of all of artists find themselves juggling three or more roles, and nearly 26 percent of artists are playing 4 or more roles. “The ‘I can do it myself’ mentality is not only pervasive, but I think some artists also romanticize it,” FMC consultant Kristen Thomson relayed. read more
[…]Also intriguing: Artist lobbying group the Future of Music Coalition has spent the last year collecting and studying data compiled from working musicians, hoping to better understand where artists of different levels are generating the bulk of their income. The in-progress findings will be presented Thursday.[…]
Last week on his show Keen On, Andrew Keen wrapped up a series of music-industry-themed interviews (which included BitTorrent’s Bram Cohen by talking to RIAACEO Cary Sherman.The conversation is pretty tame, and Keen mostly just lets Sherman speak his piece, so I wanted to take a closer look at his answers and respond to some of his claims. This is not a complete transcript, but the first part of the interview is embedded below—in the next post I’ll look at part two,in which Sherman answers some questions from Keen’s viewers. read more
Next year, a time bomb embedded in the Copyright Act of 1976 starts to detonate, as valuable copyrights fall back into the hands of artists who decide that they would prefer to own their songs, rather than allowing their label and publisher to keep selling them… read more
Kristin Thomson is a community organizer, social policy researcher, entrepreneur and musician. She is co-owner of Simple Machines, an independent record label, which released over seventy records and CDs from 1991-1998. She also played guitar in the band Tsunami, which released four albums from 1991-1997 and toured extensively. In 2001, Kristin graduated with a Masters in Urban Affairs and Public Policy from the University of Delaware. She has been with the Future of Music Coalition since 2001 and has overseen project management, research and event programming, including Future of Music Policy Summits from 2002-2007. She currently lives near Philadelphia with her husband Bryan Dilworth, a concert promoter, and their son, where she also plays guitar in the lady-powered band, Ken. read more