Washington, DC-based nonprofit Future of Music Coalition interviewed 80 different musicians and composers, conducted nearly a dozen financial case studies, and ran an online survey completed by over 5000 musicians to uncover…how today’s musicians are earning money.
US-based orchestras have a rich history of making sound recordings of classical repertoire. Have you ever wondered if and how the performers are paid when those sound recordings are sold?
This question came up while we were working on a case study of a young professional orchestra player as part of our Artist Revenue Streams project. While categorizing his income streams, we realized we didn’t know how sound recording revenue flowed back to performers. Was it a profit split with all current members? What about the money generated from legacy recordings that are still sold? read more
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
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
I’m honored to see that the folks at the RIAA have taken the time to read our Sky is Rising report. Unfortunately, they don’t seem to like hearing the news that the wider music industry is actually thriving — because it doesn’t work well with their legislative strategy (and, remember, the RIAA’s main focus is on passing new legislation to help legacy gatekeeper record labels — not in helping artists). And, this is understandable. As we detailed in the report, as well as in my talk at Midem, a popular music industry conference, the real story of the report is that the market is thriving for artists and consumers, but is much more challenging for big, lumbering legacy players. That would basically be the RIAA’s membership. read more
There is a very interesting study being conducted by The Future of Music coalition which looks at how musicians are currently making money. The video below focuses on leveraging your brand as an artist to generate revenue…
Last year, we reported on the Future of Music Coalition’s initiative to determine how musicians make money — especially jazz musicians. While not all of the data has been released, the FMC presented a few interesting early findings in a recent blog post…
I noticed an interesting trend at the MusicTech Summit in San Francisco this week: A lot of the talk over lunch and during hallway conversations wasn’t about the next big thing, about fancy Spotify apps or sexy mashups. Instead, people were busy talking about CRMs, CMS platforms and e-commerce…
…Of course, an audience alone doesn’t guarantee that you can make a living, and new research from the Future of Music Coalition that was unveiled at the event showed that the majority of artists never see any money from services like Spotify. So is it really sustainable if every singer with a few thousand fans on YouTube wants to be a working musician? Rogers countered my question by asking: “Has it ever been sustainable?”
Yesterday, Japantown’s Hotel Kabuki filled up with hundreds of pale-faced tech nerds wearing blazers-and-jeans combos. These inventors and couriers of music technology spent the day arguing about the perks and pitfalls of various technologies at the 10th SF MusicTech Summit. Two highlights from the day approached the idea of music from opposing ends of the tech spectrum. read more