Access & Exclusivity

“Everyone listens to music, but how we listen is changing.”  @Nielsen_Ent 

Now that we have access to the same pool of music, ownership has lost some of its value.  

 The monumental changes happening as records become bits are quite impactful, but as a fan of music we still own a few things; our interpretation of the song, the experience of the live show, and most likely the playback device.  These exclusivities suggest that writers, performers, and device manufacturers are the new revenue building blocks of music.  Today the playback device is primarily made by two companies, Apple & Google.  If history repeats itself these “do more with less” tech giants are in the most direct spot to deliver quality content to the music audience. 

It is good to know @cortneyharding isn’t the only person who feels we have been running in place.   For over a year artists have struggled to define a model that rewards them for their creativity and benefits the fans.   The term direct-to-fan is used everywhere, but the models we see do not represent a direct transaction between the artist and the fan.  The snag?  Currently artist’s intellectual property looks like this…


We must not fret.  Interactive digital services and live transactions are meant to align and there’s no better proof of this than Jimmy Iovine joining the board of Live Nation.  Platforms with interactive models are growing, and as access to 40 million songs becomes ubiquitous, everyone is now basically a radio station.  Twitter, the defacto platform for music discussion, is now partnered with Saavn.  Their partnership compiles tweets and forms a user generated radio station.  Since the majority of music chatter happens on Twitter we can expect to see healthy growth in this consumer choice model.   It does leave two tough questions:   For Artists)  What sound do I capture?   &   Audience)  What song do I play?


Access to recording and distribution channels boomed all categories of artist, but since no one pays much for recorded music, we will continue spending more for quality live transactions.  Nielsen

    The medium artist no longer relies on captive audiences in casinos, at conventions, or on cruises.   A rising tide raises all boats and if they budget properly they can make a good living touring.  As the success equation rightly confirms, performance artists with a high level of skill & luck have the best chance at succeeding.  

Though we have access to the same music, we can not all attend the live show.  The computer shrunk every process but live.  Performance artists are the new bread-winners.   If you can perform live you can have a promising career. The music is digital; the business is live.  As most Youtubers know, to gain a real following you have to perform in front of a crowd.