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T O P I C     R E V I E W
Member # 170
 - posted March 01, 2013 21:31
Member # 1089
 - posted March 04, 2013 14:06
Love her! Interesting talk. Her new method might work for her, but would it apply to artists who aren't as brave and engaging?
Member # 123
 - posted March 07, 2013 14:26
Great talk!

I can certainly relate to the part about hating to ask for help!
Member # 780
 - posted March 07, 2013 21:14
Amanda Palmer rocks! Thanks for the link, Steen. [Smile]

spungo - yeah, I think I'd say her method is great for her, and quite possibly for many folks...but not for all. However, the music industry would just assume ignore her model completely, figuring that everyone just wants to perpetuate their badly broken model. If a middle ground could be found, things might work out better for all concerned. (Can't Ticketmaster please die?! Top 40 as well?)
Member # 170
 - posted March 08, 2013 13:30
Spungo wrote:
Her new method might work for her, but would it apply to artists who aren't as brave and engaging?

I think going to the fans can work even for artists who don't engage on a personal level with their fans, but those artists won't get quite as much response. People will still back a project based on the merits of the project or the artist's reputation even if the artist isn't connecting with them personally.

dragonman97 wrote:
If a middle ground could be found, things might work out better for all concerned. (Can't Ticketmaster please die?! Top 40 as well?)

We're starting to get to a middle ground, I think, but not many people have noticed.

More and more artists are showing up without recording labels. Macklemore and Ryan Lewis, for example, with their album "The Heist" and the single "Thrift Shop". They don't have a recording contract. The label the album was released under is their own (Macklemore LLC). Both the album and the song have reached #1 spots in the charts.

When radio stations were the only place to hear new music and Top 40 was the reining format, pay-for-play was about the only way you could get new releases played and only the major labels had the connections to pull that off on a national scale. Most people don't buy what they haven't heard of, so new artists were basically dead in the water without a major label backing them.

Now, however, we have YouTube, Spotify, Pandora, web based radio stations and literally thousands of other routes through which new music can be found. YouTube, in particular, allows embedding of videos into websites, so a song that gets on a major website (like when "Thrift Shop" showed up on Boing Boing), the exposure can be far wider than a single radio station could ever hope to provide and that in turn drives sales and popularity.

I think Top 40 charts based on sales will always be around, but those sales increasingly include iTunes, Amazon and other digital sales which effectively eliminates the need for a separate distributor. Indie stars have more opportunity than ever to make it on the charts as a result and that means that we'll hear more indie music on the Top 40 stations. That isn't a bad thing.

Ticketmaster is still a royal pain, but nobody has come up with a way to kill it yet, though there are many who are trying. When Ticketmaster merged with Live Nation (the largest concert promotor), they became the exclusive ticket seller for the acts promoted through Live Nation. In addition, Ticketmaster splits the ridiculously high service fees with the venues, encouraging them to ignore complaints and continue to sell tickets only through Ticketmaster. Unfortunately, that means that any competition will have to charge similarly high fees in order to be able to pay the venues and still make a profit. Still, there are alternatives that are starting to gain some ground and they are more innovative than Ticketmaster, so maybe we'll see Ticketmaster's stranglehold on the market start to loosen up.

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