It’s not too late to give a gift to the fans who spent 2020 supporting you despite a global pandemic and unprecedented levels of economic struggle.
2020 is a year we will all discuss for the rest of our lives. Where we were, what we experienced, and who we lost will be topics of conversation for as long as we have air in our lungs. In many ways, this awful year has brought us together in a way that no other can. We’re surviving something together, which is why it’s important that this year — more than any other — end with each of us giving thanks to those that have given us their support.
Let’s face it: Nobody had the mental or emotional capacity to endure 2020 alone. We’ve gone through the various stages of grief several times over by this point, and we’ll continue mourning the things that never happened, at least until some ‘normalcy’ returns. People are leaning on one another a lot, and that includes musicians. We all know an artist is nothing without fans, but that was proven undeniable this year, as a lack of live performances cratered musicians’ earning potential everywhere. The performers who continue to create now do so because their audience has given them an unprecedented amount of support, and today, we’re going to help you give back.
You probably cannot afford to send every fan a gift, but that’s okay. Fans don’t need nicely wrapped presents from their favorite musicians to feel specials. All any fan really wants is to know the musicians they love know they exist and that they appreciate their support. Christmas is a time to show this kind of recognition and appreciation, which is why we’re giving you four last-minute gift ideas in our latest Music Biz 101 update:
First and foremost, everyone loves free stuff, and your fans would go crazy for new music. If you have the time, record your take on a holiday classic and offer it to listeners. You can also share b-sides, demo recordings, or alternate versions of previously released material. Got a live recording? That works too! Give your fans something new without asking for anything in return, and your appreciation will be clear.
Don’t have any rare or unreleased music to share? No problem! Most or possibly all of your fans have not seen you live this year. Your audience craves face to face interaction, and one way to do that in the age of COVID is through sharing a video update. Tell your fans about your life amid the pandemic. What have you been up to? Are you recordings, or are you focusing on your families? Did you fall in love, have a child, or start a side hustle? Let your fans into your lives, and that will help maintain their connection to your work.
Third, and somewhat similar to the second option, is to host a digital hangout with fans. You can do that through Zoom and Google Hangouts, among other services. You can use these events to do anything you want, from talking with fans to performing new music. No matter what you choose to do, these digital events provide an opportunity for your fan community to come together, strengthening the bond between fans and between listeners and your music.
Finally, if none of those options work, consider giving your fans a discount. Use coupon codes to offer fans a final chance to pick up some merch before the year ends.
More ideas can be found in the video above. If we missed anything, let us know! Suggestions can be sent to james@haulix.com.
Michigan’s Greta Van Fleet is one of the most successful and most often criticized bands on the planet. Following their lead is something every aspiring artist should consider.
There are far more talented rock bands vying for attention right now than anyone can hope to cover. The vast majority of these musicians will spend their entire careers caught somewhere between local hotshot and moderate success. Some may write songs capable of changing the world, but the likelihood that anyone outside their circle hears those tracks is relatively low. The reasons for that frustrating fact are numerous, but studying Greta Van Fleet can explain how artists can position themselves for breakout success.
Hailing from a part of Michigan known more for its holiday spirit than its music, Greta Van Fleet became an international sensation in 2017 thanks to a nonstop touring schedule and two promising EPs. Almost overnight, the world of rock was divided into two groups: People who appreciate the group’s throwback sound and those who feel the young men from the midwest were ripping off several legendary acts. You probably have an opinion, and we’re not attempting to convince you otherwise.
Parts of the rock music community continues to debate the band’s quality to this day. Still, the general public has made their opinion known by pushing the band into sold-out amphitheater performances and spending their hard-earned cash buying their music. There’s also the band’s four GRAMMY nominations, as well as numerous glowing reviews from the global music community.
Greta Van Fleet has reached a level of success that any group of musicians would kill to achieve, and that popularity is not a fluke. The band and their team work incredibly hard, and there are lessons from their rise that can help other musicians build lasting careers with devoted fans.
First and foremost, Greta Van Fleet understands branding. One look at the band’s photos, videos, or logo, and you immediately know what type of music they perform. Their marketing efforts sell the promise of a specific image and sound that the group delivers on through everything they do. It’s a textbook example of “what you see is what you get,” and in a time when the competition is fierce, there is something to be said for giving people exactly what they want.
Likewise, the band isn’t afraid to embrace their influences. Millions of rock fans worldwide would give anything to hear more material from the legendary bands of the 60s and 70s that laid the foundation for everything that came after. Those groups, by and large, are no longer releases new music. That leaves a void that Greta Van Fleet is happy to fill. That doesn’t mean that they’re compromising their artistic vision or writing inauthentic music. In reality, the group is doing exactly what they want. They wish to be as big as the bands that people never forget, and they’re following the blueprint of those acts in hopes of becoming a similarly iconic group.
Greta Van Fleet also understands the digital age. They know that everyone has a voice and that success is often determined by the number of people talking about your music. The group has faced more criticism than any mainstream rock act since Nickelback or Creed, but they don’t let that get them down. They understand that there are millions of musicians people could discuss. People talk about them, which means they are getting clicks, streams, views, etc. The volume of conversation matters more than its contents, at least to an extent, so long as people keep talking, the band continues to thrive.
The last point worth making is that the band’s success would not be possible without leveraging their fans’ support. The group’s rise in popularity came after they turned to friends, family, and listeners to fund a live EP way back in 2014. That release leads to licensing the helped kickstart GVF’s ascent through the world of rock, but it may never have existed without the band first asking their audience for support. The group invited their fans to play a pivotal role in their journey, and their followers obliged. That level of transparency has helped the group create a community around their music, unlike any other fandom in rock today. It’s all because they were open about their need for assistance.
Point being: It’s okay to need help. Fans want to see you succeed, and if you ask them to support you, they will probably do what they can to assist in whatever you hope to achieve.
Music Biz is brought to you by Haulix, the music industry’s leading promotional distribution platform. Join today and receive a one-month free trial of the same service Bruce Springsteen, Slipknot, blink-182, and thousands more trust to share their music with the press. Visit http://haulix.com/signup for details.
As we prepare to leave 2020, it’s time we look back and see what musicians everywhere can learn from this wild, unpredictable year.
If you’re reading this, congratulations! You overcame the monster known as 2020 and will most likely live to tell others of your experiences. You are an artist or industry professional who watched the music business crumple like discarded paper but kept on keeping on despite all signs that any semblance of normalcy will return anytime soon. You are a fighter, and we applaud your continuing efforts to make moves while the entertainment industry remains stuck in the mud.
It’s easy to complain about the last ten months. We’ve become quite good at criticizing this year and many of the people living through it alongside us, but today, we want to do something different. As much as this year has hurt, it has also taught us a great deal about the music business and what it takes to keep our heads above water. We are all better off for having gone through this experience, or at least, we hope that is the case.
In this Music Biz update, host James Shotwell reflects on 2020 and the lessons learned from existing through it. He urges artists to apply the takeaways from the last twelve months to the future. REMEMBER: Our time is limited, but our capacity for growth is endless.
In a world of copycats, Ghostemane is forging a unique path through the music business that is turning heads and winning fans worldwide.
Ghostemane is the perfect example of a modern superstar. After releasing eight albums in six short years, the versatile musician has amassed a fiercely loyal global following without the help of mainstream media. His 3.3 million monthly Spotify listeners and 40 million monthly streams place Ghostemane among the ranks of today’s biggest names. Yet, he doesn’t have a major label or the money that comes from playing ball with the quote/unquote “traditional music business.” He is a self-made headliner, and his new album, Anti-Icon, seems poised further to accelerate his already astonishing rise through the underground ranks.
It’s easier to tell you what Ghostemane has in common with mainstream stars than to list the numerous traits that set him apart. First, he has immaculate branding skills that tell you everything you need to know before hearing a single second of music. He also understands that the music business is part of a global marketplace. The internet has made it possible for any musician to engage with listeners and grow an audience worldwide. He focuses his time on creating music at a high-volume to constantly deliver new songs and videos, and images to fans, which helps keep his name on the tips of their tongues. He’s as ubiquitous as anyone can hope to be, and he doesn’t sacrifice the quality of his product to meet the ever-growing demand.
That’s only the tip of the iceberg. Ghostemane is a rare example of an independent artist who knows what they want and what they’re willing to give up to achieve their goals. He appreciates the power of saying “no” to anything that doesn’t align with the career he pictures for himself, and he’s willing to do things ‘the hard way’ to ensure his vision comes to fruition.
In this Music Biz update, host James Shotwell explores the many contributing factors to Ghostemane’s success, including his vision and refusal to compromise. James then uses these traits to outline a refined path to success that artists from any genre can follow to develop their careers further. Check it out:
Successfully pitching story ideas to music outlets is hard, but our latest video will tell you the best way to approach your favorite music editors.
The only thing worse than the state of the music business in 2020 is the state of music journalism. Dozens of publications have folded this year, and many more are barely hanging on. A lack of touring and new releases has drastically cut the amount of advertising, which in turn hurts music publications and their writers. Those able to pay for pitches don’t have the budgets they once did, but that doesn’t mean that all hope is lost. People are still buying pitches, and you should continue pitching. We can help.
In the latest Music Biz 101, host James Shotwell breaks down the key things every writer needs to consider when pitching a music editor. The advice shared was originally given to us by Dan Ozzi, author and former editor of Noisey. Check it out:
Dan’s notes on the topic of pitches are as follows:
Make Sure You Have a Fully Formed Idea and Aren’t Just Talking Out of Your Ass
You don’t need to have your whole article written, but you should have a clear idea of what the topic is and what points you will cover. I get a lot of pitches along the lines of: “How about a piece about how Michael Jackson was like, the original Drake or something?” These emails tend to come in after midnight and smell like Adult Swim commercials and Doritos if you know what I’m saying. Then I will send a response saying, “Cool, can you further explain WTF you’re talking about plz?” And surprise, surprise, the explanation is usually: “Like… Because they both wore red jackets and stuff. I don’t know, it might be stupid.” Cool, I’m glad we bonded over the shared experience of wasting our time together. Never forget.
Condense Your Piece Down to One Sentence
Instead of writing out five long-winded paragraphs explaining what you want to write about, give me a summary in one sentence. Or even a proposed headline. Have you ever heard of an elevator pitch? Sure you have. It’s how you would describe a larger project to a person if you had only a brief elevator ride with them. So imagine this: You are in an elevator with me. I am quietly sobbing because I suffer from severe vertigo and crippling phobia of smelling farts in enclosed spaces. How do you make me interested? Go! Sell me this pen!
Know the Outlet You’re Pitching
If you are pitching a site that is both #cool and #hip and sometimes even #edgy, you should craft your pitch to reflect that. Know their voice and also their audience. Do they mostly cater to people under 25? Do their readers use phrases like “on fleek” and “trill?” Is their audience primarily interested in cool vape tricks on Vine? Know all of this stuff and when pitching, don’t come across like you’re trying to write for some academia blog. Conversely, if you are pitching an academia blog, you probably don’t want to use phrases like “on fleek” and “trill.”
Know the Editor You’re Pitching
If you’re introducing yourself to an editor, start with a quick, personal opening line like, “Hey Dan, I really liked your last thinkpiece about how stingrays are the most punk fish in the aquatic kingdom. Good stuff.” This does two things: One, it lets me know that you are a real person who is catering to me, a fellow real person, and that you are familiar with what genres/beats I cover. And two, it kisses my ass just a tiny bit which I need because I am a music writer and require constant stroking of my ego in order to survive.
“Pitch” Is Not a Good Subject Line
That’s it, really. You won’t even get your email opened, let alone answered, if the subject is “pitch.” Put the basic idea of the article in the subject.
Here’s a good subject line: “This Venezuelan Hardcore Band Holds the World Record for Most Consecutive Hours Spent Masturbating”
Here’s a bad subject line: “pitch for you”
Check to See if It’s Already Been Done
Here’s a good use of two seconds that will save everyone involved a bunch of time: Before you pitch an idea, go to the site you’re pitching, enter the topic in the little search box, and hit “enter.” If this topic—or a similar topic—has already been covered, take your business elsewhere.
Be Timely
Different pitches have different lifespans. A long, well-researched investigative piece has the potential to live on forever and ever in the ethers of the interwebs. But something quick and dumb about the Left Shark or escaped llamas has a shelf-life of a day, if that. Send a pitch about a day-old meme and prepare to have your email printed out and passed around the Secret Society of Editors to be mocked while you are forever branded as that freelancer who wanted to write something about the IKEA monkey.
Pitch Ideas, Not Bands
This is probably the single most important piece of advice and I guess I should have put it at the top but am too lazy to change it now. As a music editor, roughly 8,000% of the pitches I get are just interviews with bands the writer likes. “Hey Dan, I want to interview this band The Shitty Pitches. They rule.” Well for starters, tell me something interesting about The Shitty Pitches or what you plan to interview them about. Is there something special about them? Did they grow up on a remote island and not hear music until they were in their thirties? Do they play on instruments they hand-made from their parents’ checks to their liberal arts colleges? TELL ME. Otherwise I’ll just assume it’d be a generic interview that asks my least favorite questions and will pass.
Do Not Pitch to Ask if You Can Pitch
I get this one a lot and it never stops confusing me. Someone will email me and all it will say is “Hey Dan, I wanted to send you a pitch about a band. Would that be cool?” No one has time to lure a timid writer squirrel out of its hole. Pitch or get off the pot.
Do Not Send Generic Garbage Pitches for Garbage People
This is another one that seems like common sense yet happens all the time. Someone will send me something like “I want to write about the current state of punk.” This is kind of like pitching a Hollywood producer a movie about love. Narrow it down.
Do Not Rattle Off Any Old Whatever the Fuck from Your Phone
When you send me a one-line email with “sent from my iPhone” at the bottom, what that basically tells me is that a thought ran across your brain and instead of thinking it out, you just fired it off to me while waiting on line at Cinnabon.
Don’t Pitch Out of Your League
If you pitch an editor with “I want to interview Kanye West,” you damn sure better know Ye personally and had him sign a blood oath saying he’d be down for an interview. There is nothing more obnoxious than someone requesting to interview a celebrity and then asking the editor to put them in touch with that celebrity. We don’t have giant rolodexes of famous people here. (Just kidding, we totally do. But don’t assume that.)
And Lastly, Here’s a Good Sample Pitch Email
Subject: Bands and their grandmas
Hi Dan, [Hey, you used my name! Now I know you are a real person and not a Pitch-Bot 5000. Cool.]
Nice piece last week on how peanut butter is the punkest food. Thought it was pretty… nutty. Was that terrible? [Woah, you have a sense of humor and are maybe a person I could stand working with on a regular basis? Sweet.]
My name is John Q. Writer and I am a freelance writer who has written for CoolBlog dot com and OtherCoolBlog dot com. [Include a link here to your online resume or blog or something where I can get a feel for your style. DO NOT go into your life story—where you went to college, what you studied, the first time you did hand stuff under the bleachers. I do not care.]
As you probably know [assuming that I am on the pulse of culture, nice nice…], a lot of bands are taking their grandmas on tour these days [maybe include a link to something on this on the very, very small off-shot that I, a person “in the know,” am not glued into this particular important cultural trend]. I wanted to write a piece called “Get in the Van, Nanna” exploring this idea. Why do bands do this? What benefits are there to touring with your grandma? I want to talk to Band Number One, Band Number Two, and Band Number Three who have all done this and also speak with their grandmas. [Woah, all of this info is helpful and interesting and I could totally see my readers digging this and sharing it on TweetBook.]
Let me know if you’re interested. [I am.]
Many thanks,
John
[This is the blank space where you’ll notice it does not say “sent from my iPhone.”]
Instagram Reels are the hottest thing in music marketing, so we’re giving you eight proven methods of promotion to boost your career.
Some may say we made a mistake by declaring Instagram Reels dead on arrival back in August, but we argue that the company heard our complaints and took action. In eight weeks, Reels has gone from an inferior knockoff of TikTok to one of the most exciting platforms for creativity and music promotion online. Every week, millions of people are creating looping videos with the latest Instagram development, and that userbase will continue growing in the months ahead.
Since Reels is Instagram’s answer to TikTok, you might assume that marketing is the same on both platforms. After all, both platforms offer creators the ability to make videos up to a minute in length, and both allow people to use music or add original audio. Reels, however, has several advantages that TikTok lacks, including the ability to reach your audience through Stories and Instagram’s main content feed.
In today’s Music Biz 101, host James Shotwell breaks down eight proven methods for successful music promotion on Reels. He utilizes clips to expand on specific ideas, including examples from EDM superstar Marshmello and popular pop-punk group Knuckle Puck. Check it out:
Not sure if the video is for you? Here are some of the marketing ideas we discuss in the clip above:
Teasers. Everyone loves a tease.
Behind The Song series. People want to connect with the real you, and the best way for musicians to give fans that opportunity is by sharing the stories behind their favorite songs.
Dance Videos. They’re all the rage online, and for good reason. Anyone can make these videos, and that makes them great for music promotion.
Get weird. As we mentioned above, people want to know the real you, and that includes all the strange behaviors and hobbies that fill your days. Share them. Get weird. Be yourself.
Skits. Second only to dancing, skits provide a template that fans can use to make original content inspired by your music. A great skit with a good punchline can spread much faster than a music video or song stream.
AR Effects. Everyone uses Spark AR effects on their IG Stories, but did you know that same technology is available in Reels? We’ll tell you how to make the most of it.
Here’s a word you need to accept as part of promotion: Influencers. Finding an influencer whose audience aligns with yours can forge a great content partnership.
Use your archives! Some of the biggest viral clips of the past year use songs that are years or even decades old! Don’t be afraid to open your library of content and pull from every era of your creativity. You never know what will connect with viewers.
Machine Gun Kelly’s fifth studio album is on track to be his most successful record yet. How did he pull that off?
Machine Gun Kelly, known to family and friends as Colson Baker, is doing the impossible. His fifth studio album, Tickets To My Downfall, is quickly becoming his most successful release to date. More impressive still is the fact that all this is happening off an LP that sounds nothing like his previous work. Such occurrences are incredibly rare, especially in the worlds of rap and rock, but MGK is finding a way to make it happen.
To put Machine Gun Kelly’s accomplishment into perspective, readers must consider that he’s been actively releasing and touring in the public eye for a decade. MGK spent the majority of that time squarely in the world of rap and hip-hop, which found him delivering a string of successful singles that rarely, if ever, gained the attention he felt was earned. He recently went as far as to say he felt ready to leave music altogether, but creating Tickets To My Downfall gave him a fresh perspective on creativity.
The fifteen track, thirty-five-minute release finds Machine Gun Kelly transitioning to the world of pop-punk with reckless abandon. Each song boasts driving guitars, thunderous drums, and themes of living life to the fullest while throwing a middle finger to anyone who claims it’s time for Ohio native to act his age. It’s the kind of album one might expect blink-182 or Green Day to release twenty years ago, and the alternative scene is embracing it with open arms.
In this episode of Music Biz 101, host James Shotwell breaks down five key lessons that artists can learn from MGK’s latest success and what the album’s rollout tells us about the future of music marketing.
Don’t have time for the video? Here are some takeaways:
Experimentation is key. MGK is internationally known for his talent as a rapper, which made releasing Tickets To My Downfall a significant risk. By better on himself and creating a quality record, MGK not only brought his fans into a new genre of music but made new fans in the pop-punk world who may otherwise never listened to his music.
Please keep it simple. In addition to introducing a new sound, Tickets To My Downfall also gives MGK fans his most straightforward work to date. Most people will need only one listen to understand the record, but they’ll keep coming back because they can easily connect with its messages and themes.
Be real. Machine Gun Kelly has always shared true-life stories in his music, but this record removes the hyperbole typical in hip-hop to deliver music that is undeniably real. The songs on the record are not so much the story of MGK, but those of Colson Baker, the young man trying to remain sane in the crazy world of entertainment. Fans may never live the moments found on the album, but it’s depictions are in such vivid detail that it’s not hard for listeners to put themselves in Colson’s shoes.
Wring everything you can out of each single. The rollout for Tickets stretches throughout 2020. MGK has mastered the art of making the most out of every press opportunity. Each song has teasers that lead to an official release, followed by lyric videos, official videos, performance videos, stripped performances, and more. Add to this the fact he’s always engaging with the press, and MGK has made himself a staple of the pop culture conversation without burning a lot of the album’s best material.
Embrace the ‘Deluxe bump.’ When news broke that MGK may reach number one on the Billboard charts, he quickly dropped a surprise deluxe version of Tickets that contained several additional songs. The new material put the album back in the news, making sure fans continued streaming the record. It’s a bit of a cheap trick, as the song could fit the original release, but it’s a good ploy to keep the press (and listeners) paying attention.
Getting the attention of blogs and writers is hard, but we can teach you how to get press for your music in fifteen minutes or less.
It is hard to grasp how much competition exists in music today. There are thousands of artists in every genre working hard each day to get the attention of labels, listeners, and the media. The vast majority never accomplish their goals and those that do rarely share their secrets to success. We don’t have all the answers, but we know what works best, and today, we’ll tell you everything you need to get ahead.
PLEASE NOTE: The strategies outlined in this article are aimed at new and emerging talent. The information below is not a replacement for actual PR, nor do we claim to know how publicists are able to move mountains for their clients. These tips will help you take your first steps towards getting recognized by smaller blogs and influencers until you are in a position to afford a real publicity professional.
Let’s start with the behaviors you should avoid. There are people in the music business who prey on the desperation of dreamers with false promises of instant access to high-level influences in exchange for money. We are not referring to publicists. Good PR professionals can open doors you don’t even know how to find, and they can elevate your career in ways that the information in this article cannot.
The individuals you should avoid often promote their alleged secrets under the guise of promotional service that claims to have ‘major success,’ but no facts or information to back it up. Others make a quick buck offering downloadable contact lists that cover everyone you could hope to reach in positions of power through services such as Fiverr. We’ve said it before and we will say it again: These individuals are scammers, and they cannot be trusted.
Onto the good stuff. The foundation of any great beginner promotional campaign is making sure anyone can easily access information about your career. That means creating a media kit that includes links to your music and social pages, as well as photos and videos. It would help if you also had a bio. You can include your merchandise links if you have any, but having things to sell is not a prerequisite to getting attention.
Take all the items gathered above and place create a space online where people who wish to cover your music or learn more about you can easily do so with very little effort. We recommend Haulix for your media, but you can build something yourself as well.
Once those materials are in place, the next phase of this promotional strategy involves research. You need to identify the blogs, channels, and content creators who cover the kind of music you create. There are many methods of accomplishing this, but one of the easiest is to identify 2-3 prominent artists or groups that you feel are comparable to your creative output. Be specific. Don’t choose mainstream talent, but focus on your niche and the people who reign over it.
Next, you will want to create a spreadsheet for your data. Go to Google and search “[Band 1] News.” Make a list of every publication and author writing news about that artist, as well as their contact information (social media, email, etc.). After that, search “[Band 1] Reviews,” and complete the process again. Continue this method of research by looking for podcasts, video interviews, video reviews, Twitch channels, and any other form of music promotion or coverage you can imagine. When you’re done, move on to the next band on your list and repeat this process.
Now that you have a good idea of who might be interested in your music, take the time to follow them online, and begin engaging with their efforts. Writers and publications are like musicians in that they love attention and praise. Engage with the content these people are making, and make an effort to strike up a conversation about your mutual interests. Don’t worry about promoting yourself. Instead, focus on them.
As you begin to build relationships, use your spreadsheet to track your engagement. The big list of publications and creators you started with should shrink as you refine your focus to those who are actively engaging with you on a regular basis. That will create a funnel, otherwise known as a sales funnel, which will reveal the people and places most likely to take an interest in covering your music.
When you have something new to promote, be it a song or video, review your data and begin contacting those publications and creators that you engage with most often. Don’t ask for coverage right away. Instead, ask for their input on the content. Let them know that their opinion matters to you, which will reinforce their connection to your music.
As people respond, who you should work with will become clear. Some will offer to premiere or feature your work. Some may even get ahead of you by reaching out first.
The key to getting attention from blogs and lower-level outlets is to first build strong relationships, and strong relationships stem from engagement. You need to care about others before you can expect them to care about you. When someone does choose to help you out, promote their work, and thank them. Their following will notice your interactions, and over time, many of their followers will follow you as well.
Remember: Getting attention is a process. You cannot accomplish everything outlined above in a day or week. You will likely be working on your relationships throughout your career. It’s chaos. Be kind.
A survey conducted by the online booking platform Encore Musicians has revealed that the UK music industry is in a state of crisis as a result of the pandemic.
COVID-19‘s impact on the music business is far-reaching, and it will be years before we fully understand the scope of damage caused by the latest global pandemic. Countless jobs are gone, thousands of gigs canceled, and no one can tell us when things will improve. People are clinging to hope that life will return to ‘normal’ sooner than later, but a new report from the UK reveals a scary fact that the business needs to confront.
Encore Musicians, a service that helps artists book gigs, recently surveyed almost 600 musicians about the ongoing pandemic. The results found that more than half of those who participated, 64%, are considering leaving the music business. That statistic may not hold true against all musicians around the world, but it does make clear a sobering truth: Even when things go back to the way they were, many musicians and professionals won’t be around.
It’s not hard to understand how we got here. Most musicians make their money from performing, but concerts no longer exist. Retailers are closed, which is hurting physical media. Streaming consumption is steady, but the royalty payments most artists receive cannot cover their bills.
On the professional side, thousands of jobs no longer exist, and countless venues are in danger of closing before the year ends. Of those still working, many are taking pay cuts that may be permanent.
When COVID finally subsides, who will be left to fill venues, and where will they play? Fans will be as demanding as ever, but will artists want to sacrifice their lives all over again? Many have found temporary jobs that offer better pay, more benefits, and time with family that touring can never allow. Others have discovered new passions and set to making them a career. Will the allure of performing be enough to pull them back to the open road? Only time will tell.
As for the business side of things, jobs will take a long time to return, if ever. Many companies are adapting to the new normal by shedding their costly office space and restructuring whatever roles are left to cover more needs. Growth moving forward will be entirely dependent on need rather than ‘the way its always been,’ and it will take time to gauge the need for more employees once the pandemic ends.
The best anyone can do is to practice empathy. Working in music is a calling for most, and virtually everyone is struggling right now. We cannot solve the problems of the world or ease the minds of consumers, but we can take care of one another. We deserve that much, and it’s on us to deliver.
The novel coronavirus and its devastating widespread economic impact are not enough to stop the music industry’s seemingly endless growth.
March 2020 feels like a lifetime ago. When COVID-19 forced the immediate suspension of live music and placed millions into isolation, music industry analysts feared the worst. A lack of concerts meant a dip in revenue, and a lack of commuting said the same about streaming royalties. Thousands found themselves out of work, and many remain unemployed (at least in music) today. The idea that music would grow this year was far-fetched, to say the least.
A report published by the RIAA this week that was shared by Billboard with an article from author Dan Rys found good news still exists. The U.S. recorded-music business was still in an upswing in the first half of 2020, growing 5.6% at retail to $5.7 billion, up from $5.4 billion, continuing a trend of growth that extends back to the industry’s nadir in 2015.
RIAA graph depicting change in mid-year retail revenues year over year
The less than great news is that industry-wide growth took a pandemic-related hit. The latest numbers end a streak of double-digit gains that bega with a mid-year report in 2017. Such growth is hard for any industry to maintain with or without a global pandemic, but the change is happening much sooner than expected because of COVID-19.
As part of the total $5.7 billion in revenue, streaming accounted for $4.8 billion, or 85%, increasing its share from the 80% it held at the same point in 2019 when it totaled $4.3 billion. And within that, paid subscription revenue accounted for $3.8 billion, an increase of 14% over last year and 67% of the total revenue share overall, and 79% of streaming revenue. Additionally, paid streaming subscriptions was up 24% for the first half of the year, to 72.1 million from 58.2 million at the same point in 2019.
The continuing spread of the novel coronavirus has kept many physical music retailers closed for the majority of 2020. It is no surprise those closures affected physical media’s standing in the overall music ecosystem, where it now accounts for just 7% of all recorded music revenue. Digital claims the remaining 93%, which is 2% gain over 2019.
Something report cannot account for is how much different the data would look if the releases delayed due to COVID-19 were released. While many artists have moved forward with their original plans, countless others are holding their records until a time when touring and more traditional music promotion is possible.
“These are historically difficult times: the live music sector is shut down; studio recording is limited; and millions of Americans are out of work across the broader economy,” RIAA chairman/CEO Mitch Glazier said in a statement accompanying the report. “While we’re pleased that the years of hard work and resources we’ve invested in streaming are driving growth in paid subscriptions, today’s report demonstrates just how much work remains to achieve a sustainably healthy music ecosystem for both music creators and fans. We must continue working to help sustain live music and venues, support gig workers and session musicians, and ensure fair pay for music on all digital platforms. Despite all the challenges from the pandemic, one thing clearly hasn’t changed — fans still love music.”
