What's Going On...with the music industry?

John Parker – Double Bassist.
Hello people.
It’s been a while since I posted last.
What moved me to pick up my keyboard and do this one, you ask?

Well, I don’t want to come across as one of those luddite-whingeing-indie-music-types but the short answer is I wanted to share with you a Facebook posting from John Parker (musician extraordinaire, bassist, beat-boxer, guitarist par excellence and all round good human being) who recently shared his experience of trying to keep working in a music industry that is broken. I think JP’s situation and his FB declaration typify what it’s like to be a working musician in the digital age – an age that promised so much but delivers very little in return for the working musician, unless you’re Elton John or Paul McCartney. We’ve never had greater access to so much amazing music but rarely have such world-class music-makers had to choose between earning money as a gardener or barely scraping a living (or going into debt) to do what they love.

[*More info at the bottom of this blog on streaming and artists’ pay.*]

 

So what’s changed?

The wonderful world of streaming has been a boon to the music fan who can now access virtually any music anywhere they choose – but at what cost to the musician? The shift to streaming has meant greater access and flexibility but the money that now goes to artists is a fraction of what it used to be. Not enough of that money trickles down to the artists at the sharp end whilst the major labels continue to profit from a broken system.  Just a few short years ago, musicians could sell CDs (remember those?) at gigs. In the early Nizlopi days, CD sales at gigs and from our online shop was what paid the bills and kept the lights on, and allowed Luke and John to at least make something of a living without taking on another job.

When the front line becomes the bread line.

What bothers me most about this situation? It’s that so many musicians now find themselves in a similar situation to John’s. Having to choose the day job over the music job because music no longer supports the majority of artists. Yes, I empathise with artists like Lewis Capaldi and others desperately trying to hang on to their mental health but try schlepping up and down the motorway on your own 5 nights a week for a couple of quid (if you’re lucky) and giving your all at a gig only to come away more broke than you were when you started, year in and year out! Not wishing to sound overly dramatic here, but there is something about JP’s words that remind me of stories from the front line of some epic battle, and in reality, that’s exactly what it is. JP and his peers have been on the front line of live music for a long, long time, and that exacts a toll far beyond what might be apparent at a gig. It is the Hero’s journey in a nutshell. Check out John’s words below, he says it so much more eloquently than I ever could.

John Parkers FB feed Wednesday, 28th June 2023.

Thoughts.
I’m writing this as I’m changing how I work as a double bassist and wanted to communicate it to the world, or at least my side-street of the Internet. I’ve been a double bassist and professional musician since I left secondary school, I have worked damn hard and been incredibly lucky too, especially with my band Nizlopi, we got to do all the things you dream of doing when you’re young, when all you want to do is play music and connect with people,  like the bands you love do, things were different then, people bought CDs, came to concerts, and just the mere fact I was younger and had less responsibilities, music was only going one way (upwards) and It was very much happening for me and Luke, and in a way I’ve been riding that train for decades. I’ve been truly blessed, but these last few years have been hard, not just for me, but for nearly everyone in the music scene, we had a pandemic, an incredibly unstable and fitful recovery back to live music, and I cared for and lost my mum in amongst it all. I came back and gave music my all, practicing hard, getting a new teacher, putting the miles in, said yes to anything offered, learnt the songs, but it’s just not working as a career anymore, I hold my hands up and admit that my career has faltered and in a lot of ways halted, I now make more money gardening than I do playing double bass. So, I write this not to say I’m quitting music or playing, I will always play, but to say I’m stepping back and putting in some self-care, so I’ll be charging properly, I now have a minimum fee, plus expenses, fuel and accommodation when needed, I’ll set up a simple website and I’ll try to become more sustainable, In a way it’s me becoming more professional but I also acknowledge that I’ll be gigging less because of it, and if it’s anything like the next few months, not at all, I’m tired of the long drives to play to often just a handful of people, albeit lovely people, it just costs me too much, not just financially, but with exhaustion and near misses on long and tiring drives. So, for now I shall be transitioning from silly busy to looking for a new path which will hopefully mean I can continue on some level to be a double bassist and musician, but with more wisdom and openness to doing something different with my life.
Thank you for all the support and at some point I’m sure I’ll see you at a gig, either from the stage or as a punter.
JP X
JP crowd surfs.

What can we do?

Go to gigs. Buy the music (in whatever format) the artist has at the gigs. Support the musicians you love in any way you can. Tell your friends. Give them a hug and tell them they matter.

Bring the love.

Stay musical.

Until next time or until I see you at a gig 🧡.

*Streaming stats and trying to make a living.*

 Apparently, streaming now accounts for something like 84% of the revenue of the recorded music industry. With “enough” monthly streams, it is possible to make a living but look at the stats. Remember, streaming companies pay minute sums for a stream (somewhere between $0.00069 – $0.019). One estimate has it that you would need between 75,000 to 2,000,000 streams a month to earn the US monthly minimum wage. And the revenue to the streaming companies, where is that going? Well, a significant proportion of it is going to some of the major record labels who are now shareholders.

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