Music Artists Making More Money Than Ever?

by Matt @ Kurb on November 13, 2009

Boing boing reckons artists are making more money than ever!

So what’s going on are you doing it wrong? Am I about to tell you it’s all because some artists have got their online music marketing sorted and that’s why they’re succeeding over others?

No way. We all know most of the money is being made by U2 and a bunch of country artists. When an act like AC/DC or The Police goes on tour, the clean up. That’s where the numbers are coming from.

And yes they came from an era where there career as a legacy act came from the old model where world domination was still possible.

So my point becomes about investment in your music career. You invest and do the hard yard up fron tso that one day you can have so much equity built up in your brand that you can collect great money when you tour, but that won’t be happening in ten years time if you’re not already laying down the legend, forging the bonds and blazing the trails now.

What I do isn’t going to help you sell out stadiums, but as long as your investing into moving forward with your promotion in a log term way, and you see your music as a business, and you understand online is the future of media, then you know you need help from someone like me.

This from the Boing:

The Times Labs blog takes a hard look at the data on music sales and live performances and concludes that while the labels’ profits might be falling, artists are taking in more money, thanks to the booming growth of live shows. The Times says that they’d like more granular data about who’s making all the money from concerts — is there a category of act that’s a real winner here? — but the trend seems clear. The 21st century music scene is the best world ever for some musicians and music-industry businesses, and the worst for others. Which raises the question: is it really copyright law’s job to make sure that last years winners keep on winning? Or is it enough to ensure that there will always be winners?

Why live revenues have grown so stridently is beyond the scope of this article, but our data – compiled from a PRS for Music report and the BPI – make two things clear: one, that the growth in live revenue shows no signs of slowing and two, that live is by far and away the most lucrative section of industry revenue for artists themselves, because they retain such a big percentage of the money from ticket sales.(It’s often claimed that live revenues are only/mostly benefitting so-called ‘heritage acts’. Unfortunately, the data doesn’t shed any light on this because live revenues are not broken down by type of act, gig size or ticket price.)..

It’s interesting too that, overall, industry revenues have grown in the period – though admittedly not by much – which arguably adds strength to the notion that, when the BPI releases its annual report claiming how much ‘the music industry’ has suffered from the growth in illegal file-sharing, what it perhaps should be saying is how much the record labels have suffered.

The graph the record industry doesn’t want you to see (via We Make Money Not Art)

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