For what it’s worth, I’ve given writing a bit of a back seat to being more active on Twitter and submitting to online radio stations, and I’ve seen an uptick in plays across platforms (like Spotify) that were previously quite dormant. I’ve even seen activity on Bandcamp, which is weird because I haven’t actively advertised that anywhere.
EDIT: So yeah, I think that just GETTING it out there, self promoting and supporting the DJs and other artists is key.
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There’s been some discussion about this amongst the Twitter circle I’m involved in, decent read. There’s some numbers to back it up. Things really have changed in the last even ten years or so, it’s wild.
I see the value in an album or EP, but I’m just not sure how well it works for the general listening audience. I’m kind of in the same boat, it’s a real tough sell in this instant gratification society. Myself included in here, I don’t have a lot of time anymore with two young kids and a full time career. Literally have both kids on top of me while typing this
Not only that, the top selling album really didn’t sell that much compared to the past. Taylor Swift’s Reputation topped the list last year with only 1.9 million sold, and much of that was tied to her controversial buy-an-album-get-a-chance-for-a-concert-ticket plan. There was only one other album that topped a million last year, and that was Ed Sheeran’s Divide at 1.1 million. Remember the days when a hit artist could sell that in a week? They’re long gone.
Those numbers surprised me. Wow.
#offtopic the auhor of the article, Bobby Owsinski, is a hero of mine.
An ongoing collection of articles/opinions on the subject of release schedules and formats, started back in March, including that article - as well as my own thoughts as to why the article’s claims might not be correct (incl. some sales analysis rejecting the author’s numbers).
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In a new series of articles dedicated to building a sustainable career as an artist in the music industry, we’d like to highlight the value of an entrepreneurial spirit. The beauty of our post-internet landscape is that it’s still a wild west – a space for artists to reinvent and pioneer new business models. For better or for worse, gatekeepers are still abound and the power structure that prevails and evolves is something one needs to understand how to navigate.
As the article suggests, SC are likely spitting bullets right about now.
I’m torn on it.
I can see the upside, certainly for small, unsigned artists, but it will certainly impact the quality levels you’d possibly expect from Spotify (although their algos are pretty tight, so maybe it won’t interrupt normal service.
Democratisation is a double-edged sword. Increased accessibility rarely increases overall quality.
I’ll probably continue to use Distrokid for one-stop convenience. If Spotify offers me/artists greater, more direct control, then maybe I’ll upload there myself. But, for the many other platforms digital distribution pushes to, they’re still the simpler option.