And even the first week argument being the main, for bands at your size and that I work with, there s little to know residual press after the fact if you don’t possess a moderate hit and/or great story. It s not like any meaningful volume of people will be speaking about the album week 2, so windowing at that level is hiding it from your most quantity of ears, also.
I m fed up with hearing all the bs about digital music piracy. Before the internet, artists and music companies alike received just compensation through the sale of records, CDs, whatever physical manifestation was normal, as well as their share of concert revenue, and royalties from r / c. People everywhere were able to record the music they (or someone) bought and PAID FOR onto cassettes, or later, burn that music to CDs so they could listen to their music in a vehicle, or as they definitely walked or jogged. They even shared their tapes or CDs using their friends and family. No one came after cassette tape or CD manufacturers crying because people could actually make copies of their music collection for convenience.
For all of Lowery s moaning regarding the artist s rights (that may also be read as his rights), he has a tendency to leave the buyer completely out from the picture. You have to presume that scarcity is the ONLY motivation for playing the recorded music economy to buy into some of his conclusions, & I don t think that s true. There are loads of examples that disprove this (Radiohead s novel pay-what-you-want experiment, a lot of coffeehouse pricing model experiments, etc). He might ve opened the door for the conversation about artists rights, but he framed it improperly from the gate, & we re still seeing the repercussions of that.
Streaming services like Spotify are notorious to make tiny, per-play payments. But it seems that none of this matters, because none of the helps it be to the artist. And now we have proof: here is a copy of Lady Gaga’s contract with Interscope Records, belonging to Universal Music Group, the biggest label on the globe.
LESSON LEARNED: I don’t honestly deals because it encourages competition within the acts rather than a ‘we’re all inside it togetherapproach like I uphold. You have 0 incentive to use the opposite bands about the bill to really make it an excellent night encouraging fans to be from beginning to end. Because of this, bands in LA and NYC aren’t getting to find out one another that well and typically make an appearance just before their set leave shortly after. ‘Hit it and quit it.Which rubs off around the fans too. It’s VERY unique to view fans in LA or NYC come for a full nights music (because of this practice). Venues don’t realize if they Brett Young tour 2020 eradicated their deals in this way and started encouraging complete bills and promoting the entire evening of music, they will have more people in their club for the longer time period (i.