Reality for Indie Artists : Zoë Keating’s Annual Music Sales & Streaming Data @SXSW #SXSW

Zoë Keating released her Annual Music Sales & Streaming Data Spreadsheet a little bit ago and we stayed out of the fray, although we did also publish an update of the Music Streaming Price Index for 2014 as well.

This quote from Zoë in a follow up post about her open and transparent sharing of information on Hypebot got our attention.

I want you to know that I don’t release these numbers as a marketing tool. I’ve always tabulated stuff as part of doing my annual accounting and last year I decided to make a portion of them public. Music commentators were saying, over and over, that artists are not making a living selling music, they make all their money touring, etcetera etcetera. I noted that in my case that wasn’t true and never had been. In the commentary I wasn’t seeing a lot of actual numbers from artists and thought I’d offer some details of how it all works for me: a non-labeled artist whose career has existed entirely in the internet-age.

It’s curious to us that someone would insinuate the motivation behind sharing information in an open, human and transparent way was an attempt at self serving marketing. Shame on those who have made such comments. Zoë should be celebrated for doing what the interweb companies claim to do, and ask others to do, but do not do themselves.

We also found the following statement to be true of our experience of the vast number of artists we hear from who report similar experiences with streaming services ranging from Spotify to YouTube. These services only financially serve the very large artists and the very large labels. In other words, Spotify, YouTube and the like have not empowered artists towards financial freedom and very well appear to be achieving the very opposite.

Meanwhile yes, the big money is to be made at the top of the tail…and therein lies the promise of commercial music streaming services. It will be financially valuable to those who make hits and those who aggregate legions of artists. For a single artist like me commercial streaming will never be more than promo. I accept that. But will keep talking about it until streaming companies do more to make that promo more useful (i.e data).

But there appears to be more to this story. In this recently posted video clip by “Unsound” documentary  filmmaker Mikeal Eldridge, Zoë reveals that she has dug a bit deeper into the realities of streaming economics noting that the more streams that are served, the less the artists makes per stream. Again, this is consistent with her observation that “the promise of commercial music streaming services… will be financially valuable to those who make hits and those who aggregate legions of artists.”

We’ve yet to see anyone propose how streaming can actually scale and be sustainable for artists. We love streaming services, what we don’t like are the economics.

92% of Zoë’s recording income is from transactional digital sales. If these streaming businesses are claiming to be the future, the question to ask is whose future?

Downloads Streams Total % Downloads
$75,341 $6,380 $81,721 92%

RELATED:

Music Streaming Math, Can It All Add Up?

Why Spotify is not Netflix (But Maybe It Should Be)

Musicians POV: Spotify Isn’t Good for You – Full Post

On Spotify (and Why I’m not a Conspiracy Theorist After All) | Tape Op

The real reason why the major labels love Spotify | Guardian UK

Musician/Producer Michael Beinhorn Added to NAMM Artists Rights Panel Thu 1/23 – 3pm

We’ve just gotten word that Musician/Producer Michael Beinhorn has been added to the NAMM 2014 Artists Rights & Internet Panel.

Michael brings a unique perspective as a musician and producer whose work spans from such classic and ground breaking albums as Herbie Hancock’s “Future Shock” which featured “Rockit” to seminal rock albums for Red Hot Chili Peppers, Marylin Manson, Hole, Soundgarden and to many more to mention.

Michael Beinhorn Discography

NAMM 2014 – Copyright, The Internet and You
http://www.namm.org/thenammshow/2014/hot-zone/copyright-internet-and-you-panel

Day: Thursday, Jan 23

Start Time: 3:00 pm (One Hour) 

Room: The Forum (203 A-B)

Presenter / Moderator: Gregory Butler

Why are content creators seeing less money than ever while their art is being used so widely? Join our panel of experts as they look at the challenges of navigating the new music industry, piracy and intellectual property.

Panelists:
* Lucy Miyaki of Tashaki Miyaki
* Manda Mosher of Calico
* Reinhold Heil, Film & TV Composer
* John Cate, fmr Tunecore CFO
* Tom Biery, Artist Management
* Brian McNelis, Music Supervisor / Soundtrack Album Producer

RELATED :

NAMM 2014 Artists Rights Panel, Actually Features Artists…