Peter Frampton: 55 million streams and I got paid $1700 (3 Viewers)

[guidomerkinsrules]

They should start their own streaming service then and charge/find revenue accordingly. Its not like some protected market. I could probably whip out the back end in a day or so. Front end (except mobile) maybe another day.

Yes, record labels own the recordings. They're free to re-record masters like Taylor Swift.

No
Like Education and Heathcare (and probably many others) there’s very little benefit and wide scale detriment to applying a business model (sr management and shareholders benefit, most everyone else suffers )
Predatory capitalism should be challenged at every level
Your ‘go it alone’ approach is little different than telling a doctor she should learn administration as well

 

[Optimus Prime]

Interesting article. I always thought (and heard) that the real money was made touring
==============================================

When you see a band playing to thousands of fans in a sun-drenched festival field, signing a record deal with a major label or playing endlessly from the airwaves, it’s easy to conjure an image of success that comes with some serious cash to boot – particularly when Taylor Swift has broken $1bn in revenue for her current Eras tour.

But looks can be deceiving.

“I don’t blame the public for seeing a band playing to 2,000 people and thinking they’re minted,” says artist manager Dan Potts. “But the reality is quite different.”

Post-Covid there has been significant focus on grassroots music venues as they struggle to stay open. There’s been less focus on the actual ability of artists to tour these venues. David Martin, chief executive officer of the Featured Artists Coalition (FAC), says we’re in a “cost-of-touring crisis”.

Pretty much every cost attached to touring – van hire, crew, travel, accommodation, food and drink – has gone up, while fees and audiences often have not. “[Playing] live is becoming financially unsustainable for many artists,” he says. “Artists are seeing [playing] live as a loss leader now. That’s if they can even afford to make it work in the first place.”

Potts, who works at Red Light Management – home to everyone from Sabrina Carpenter to Kaiser Chiefs and Sofia Kourtesis – feels like there is an industry equivalent of the Spider-Man meme in which they are all pointing to one another. “People who work at labels think bands make loads of money touring, while booking agents think they make loads of money on publishing and so on,” he says. “Everyone thinks artists make money from the other side of the industry they’re not involved in.

“Artists are the biggest employers in the industry. They pay for the tour manager, session musicians, agent, manager, crew, insurance, travel, accommodation, equipment, rehearsal space, production. Everything. I don’t think people know this is all the stuff that the artist pays for and does.”

“Greater transparency is needed,” says Lily Fontaine, lead singer of Leeds band English Teacher. On paper, the four-piece appear to have made it. They are signed with a major label, Island, have played on Later With … Jools Holland, get healthy BBC Radio 6Music airplay, their debut album has received five-star reviews and they are about to embark on their biggest tour to date, which includes an 800-capacity home-town show.

“The reality is that it’s normal for all of these achievements to coexist alongside being on Universal Credit, living at home or sofa surfing,” says Fontaine. During the making of their debut album, she and bandmate Lewis Whiting did the latter while unable to afford rent.

In their four years of existence, English Teacher have yet to turn a profit from touring. “We’ve never directly paid ourselves from a gig,” says Whiting. “A headline tour usually comes out with a deficit. The only thing that we ever make any kind of profit on is festivals, because the fees can be higher, but any money left over just goes towards the next outgoings.” A successful show for the group in the past has been defined by whether they can flog enough merch to afford a supermarket food shop.

So how do they survive? “In the world of artists, we’re in a lucky position,” says Whiting. “We try to pay ourselves £500 a month each from the band pot.” However, they’ve been reliant on their advance for this, which is now gone. “We’re now in that stage where we’re gonna have to figure out where that £500 a month is gonna come from,” says Fontaine. “Because the gig fees won’t be able to cover that.”

The band estimate that their 16-date UK tour in May will generate roughly £800 profit. But, says Fontaine, “realistically, I don’t think there will be any profit because things always go over budget”..............

The question is: who else will be able to afford to pursue music as a hobby? “It depresses me how many middle and upper class people there are in the music industry,” says manager Potts. “Because the working class just can’t afford to fork out £150 a day for van hire. The only artists doing that are people who have deeper pockets and can afford to take the hit.”

Of course, every act is different in terms of what they justify as reasonable outgoings and not everyone has the same costs, but Potts says from his experience, generally speaking, bands with four or five members now need to be playing 2,000+ capacity venues nationwide to “really start to see things tip”.

That tipping point is out of reach for the majority. “Most people don’t actually get to that level,” Potts says. “Just look back at any festival lineup from 10-20 years ago and see which names are still on festival bills and how many you’re like: what happened to them?”

The gap between those who are flying and those who are floundering has become even more stark. “It feels like the top 1% have become the top 0.5%,” says Martin. “The level of artists we’re talking about here that are struggling to make things stack up financially would really surprise people.”.........

‘The working class can’t afford it’: the shocking truth about the money bands make on tour

As Taylor Swift tops $1bn in tour revenue, musicians playing smaller venues are facing pitiful fees and frequent losses. Should the state step in to save our live music scene?

www.theguardian.com

 

[guidomerkinsrules]

93% of the time the 'business model' sucks nards

 

[Dago]

As far as the streaming goes, many of you all are only looking at one side of the equation.

The other side of it is that I pay $110 per year for my streaming subscription. If I were to only listen to 10 songs a day (and I do that or more just on my work commute), that works out to $.03 per song and that's an ABSOLUTELY conservative estimate. I probably listen to at least double that daily with is $.015 per song.

I have no idea how much it costs to run a subscription service, but when you are talking about a per song amount, that ain't a lot to go around

 

[2009ring]

No
Like Education and Heathcare (and probably many others) there’s very little benefit and wide scale detriment to applying a business model (sr management and shareholders benefit, most everyone else suffers )
Predatory capitalism should be challenged at every level
Your ‘go it alone’ approach is little different than telling a doctor she should learn administration as well

The problem is everyone has evolved over the decades from a "stakeholder" business model to a "shareholder" business model.

Companies used to run their business so that everyone that had a stake in it would benefit. Because it took all of the stakeholders to make the business successful. Paying vendor invoices on time, paying employees well, using quality equipment, etc. Basically anyone who was impacted by or benefitted from the business was protected.

Now all anyone worries about is the stockholders, get every dime of profit possible regardless of the consequences and who gets left out in the cold.

 

[guidomerkinsrules]

As far as the streaming goes, many of you all are only looking at one side of the equation.

The other side of it is that I pay $110 per year for my streaming subscription. If I were to only listen to 10 songs a day (and I do that or more just on my work commute), that works out to $.03 per song and that's an ABSOLUTELY conservative estimate. I probably listen to at least double that daily with is $.015 per song.

I have no idea how much it costs to run a subscription service, but when you are talking about a per song amount, that ain't a lot to go around

everything i do on Sirius & Audible i used to do over OTR radio or CDs/cassettes and books on tape from library or wherever
i'm really not sure what the cost analysis would be
i imagine like streaming vs cable & rentals it's something that started off cheaper and more convenient and is not more expensive but still convenient