Georgia Wonder is Stephanie Grant from London and Julian Moore from Portsmouth. We got to know each other via Andrew Dubber's blog and Twitter. You're searching for a pop/rock/folk band serving beautiful tunes and a brilliant female voice - buy their tracks. You can even choose if and how much to pay for downloads. Or you may order a physical copy.
Tag / strategy
Studying my reader this morning, there was a post at hypebot, leading me to a blog on Seattle Weekly written by John Roderick, singer for The Long Winters: "They Love You First. They Book You Shows. It Gets Complicated". It's about the artist/fan relationship. Does that ring a bell? Yep, in the comments to my "Ads vs. flattr" posts I mentioned another article coming up on that issue.
First of all, don’t moan how much you have to pay. Others share your problem as you can see. It’s only the dimensions which are different. Btw, any software company is working on several projects simultaneously. Otherwise the risk of failed sales negotiations is too high. Secondly, clever companies selling high quality can find people willing to invest.
Is this provocative to ask? Well, yes. No. Depends on. Nobody has the skills to be creative in every field. Or is there a sculptor in your band who is perfect in weaving tapestries, writing scripts for plays at the Old Vic, and at the same time artfully handling his stock shares himself and piling up his riches at the Caimans?
Reznor's point is straight forward and easy to understand. Bottom line is, master music & online tools, work hard, deliver something good - and sell something unique other than music. Because you can't rely on selling (recorded) music in itself. Music is ubiquitous. And it's free. Cash is about extras.
Part 4 of the interview includes Wolfram Huschke's answers concerning music industry, self-marketing as an artist, and the issues of financing 2.0. Aspects of the latter in particular are crowdsourcing and services like bandstocks.com.
At this year's Midem, Mike Masnick from Techdirt gave a presentation focused on how Trent Reznor/NIN is doing music business. It is worthwhile watching the video. Masnick's accompanying article can be found here. You will find additional comments there. Unsurprisingly, there are some issues mentioned which might be familiar if you read my previous articles on here.
What remains to be a constant in music business? There’s the product, which includes performance & composition. It’s the artists, or more generally speaking, the creative bunch. On the other side of the story we’ve got the consumer. Then there’s kind of a middleware - let’s call it the platform of distribution, no matter how many third party companies are involved (if any).