In this episode, we talk with Hayley Rosenblum, Music Campaign Stategist for Kickstarter, the global crowdfunding community platform. She shares advice about how to create experiences that will engage fans and win their support, lessons she learned in her years working with DIY pioneer Amanda Palmer, and how the post-Napster generation values music differently, but just as importantly as every generation that came before. The concept of recorded music as a commercial product is just a tiny blip in the history of music. For centuries, musicians have relied on the patronage of Kings, Popes, and wealthy benefactors to sustain them while they dedicated their lives to their art. But patronage declined in the mid-19th century. Public support of the arts and the rise of capitalism enabled artists to earn money for the performance and sales of their works. The recorded music industry invested in artists and created a commercial marketplace that more or less worked for artists for decades. Until it didn’t. The internet has democratized distribution. Putting your music online costs almost nothing, really. But it costs real money to create. It is expensive to conceptualize, to write, rehearse, record, release, tour and promote music. Artists have long relied on record labels to fund these endeavors, and accepted inequitable terms as the cost of getting the money. But labels are far more cautious these days about who they sign, what they release and how long they work a record. And the deal terms can be far more obtrusive, where labels want a piece of everything artists earn, not just monies from recorded works. If artists want to create without limits in today’s marketplace, if they want to survive and succeed, they need a more holisitic form of financial support. So patronage is back. But this time, it isn’t Popes and Kings supporting the artists, it’s fans like you and me.
Artists we discuss in this podcast:
Julien Baker on Bandcamp: julienbaker.bandcamp.com/album/sprained-ankle-3