Quick Thoughts on Paying for Artistic Endeavors

It seems that half of my twitter stream is at Next Big Nashville today so I am seeing lots of talk about the music industry and how to “fix” it’s problems. I am not there, so I am just getting lots of out-of-context quotes including that “65% of consumers still purchase CDs” . There is this rift in the music industry between those who want to find a way to maintain (regain) the control and profits they have historically enjoyed, and those who want to concede that Napster changed things and now it is time to find a new way.

I don’t have a ton to contribute since I am missing most of the dialog, but it does make me want to share my personal experience.

Eighteen months ago I wrote this:

I am now a believer in subscription based music. Over 80% of my music listening is now done via Pandora. Sometime I will listen to the “recommended music” on the Last.FM channel. Other times I will listen to the Drum & Bass Arena Podcast. On a very rare circumstance I will listen to music that I have purchased or downloaded over the years. Usually if I am listening to music files that I have stored on my computer or ipod it is because I want to listen to music on the home stereo while making phone calls. If I could run Pandora on my Apple TV then I might never listen to music I “own”.

I don’t think I have bought a single piece of music since then. (When did Imogen Heap’s Eclipse come out?)

Yet, I listen to more music now then I have for years. The last time I had a music-listening bump like this was when Napster was active. Before that I considered myself a musician and was no where near a typical consumer. I bought lots and lots of music; purchasing music every single week. At times, I spent more money on music in a typical week than my annual Pandora subscription.

Maybe 65% of consumers buy CDs today, but that is not going to last. My Visio TV has Pandora. My phone has Pandora (both iPhone and Android). I listen to Pandora in the car, at the office, and at home.

Of course, there is an exception that proves the rule.

Last week I bought the Noisefloor EP. It was created by some friends of mine and while I really like it, the reason I bought it is to support them. I would really like it if you bought it too. (If you like Drum and Bass then you have no excuse not to buy it)

So why did I buy this one? Because it is a way to support the musicians. Since they are my friends I could just give them $20, but this also sends a signal to their label that I support their music. It is almost like a micro-benefactor kind of view.

I have talked with friends for years about the need for that kind of micro-benefactor system. I don’t really care to own music because I listen to great music all the time without purchasing individual CDs or digital downloads. There are artists that I would like to give money to though (say, promising $10 to The Postal Service if they would create new music).

Another way this could work would be to pay for a subscription to an artist or even a record label. (Remember the Sub Pop Singles subscription?)

I don’t want to get a new 7″ single every month (*cough* hipsters *cough*). But I wouldn’t mind having an iTunes subscription similar to iTunes U that would let me get songs, recordings of live shows, video podcasts about their creative process or the thought behind a tune, etc. That is worth $20 a year. Maybe a premium subscription includes a ticket to their show too (and they can set the subscription prices).

The problem is that pretty much cuts the record label out of the picture. The labels don’t want to give up control.

That’s fine. I can just let them bleed to death while I enjoy my Pandora Pro subscription. I doubt the artists will starve any more than usual since the record companies tended to keep all the profits for themselves anyway.

Feel free to check out my Pandora stations.