New things for Bandcamp Day!

Today is Bandcamp Day – the day that Bandcamp waives their revenue share, giving it all back to the artists and small labels who sell their music on the site.

Bandcamp, in a paragraph: 

For those that don’t know, Bandcamp is the Farmer’s Market of music online. Music and merch from independent artists the world over, in glorious HD formats, with the vast majority of the money going to artists. Counter to pretty much every other digital music business model, they don’t make a penny until we make many, many more pennies than they do. There are no fights to pay musicians less, like the Spotify lawsuits, no attempts to take rights away, or keep musicians away from their listeners. It’s the perfect Fairtrade music platform. It’s also where I host my subscription offering – that’s the best possible way to support what I do and get everything – head to stevelawson.bandcamp.com/subscribe for more on that.

Anyway, I’ve released a few new things for today. The first is one of my favourite projects I’ve ever been involved in. Beautifully Disturbed is a duo live album with trumpeter Bryan Corbett. Bryan is an incredible musician, and a truly brilliant improvisor. I feel deeply inspired every time we play together. Here’s the album – it’s only £2 on Bandcamp, so you can use the rest of your money to buy other things, or you can pay more if you feel so inspired.

Next up, I asked my subscribers which of the three albums I should release from my recent Italian tour, and because the spread was across all three of the albums, I decided to make all three available Pay What You Want. PWYW means you get to decide what you can afford. You can spread your money out across whatever it is that you want to buy. Give it all a listen, and see what grabs you:

There you go. A ton of new stuff from me for your lovely ears.

If you want some recommendations, my bandcamp collection has everything I’ve ever bought there, and will be updated through the day as I buy new things today! I’ll be reinvesting 20% of everything that comes in to me in new music.

Mini-Lesson Series for 6 String Bass Now On Instagram!

One of the things I’ve been doing while cooped up at home is making little lesson videos for Instagram – at the moment, I’m in the middle of a series of lessons of under a minute looking at some of the things that 6 string bass makes possible. I’ve gathered them together under the hashtag #DownWithThe6ness and you can see the first four of them below.

But before that, here’s a tune I recorded using many of the things that we’re looking at across the series:

And here are the first four lessons in the series – follow me on Instagram to see the rest of the series. I’m posting one a day. If you film yourself trying any of the exercises, do tag me in your post!

 

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Trying To Make The Most Of Quarantine Time…

How are you holding up, really?

These are such spectacularly weird times, absolutely unlike anything else we’ve ever faced. Part of me feels OK with it all, but I’m noticing that there are certain tasks my brain can deal with and others that I’m REALLY struggling with. How about you? What’s the canary in the coal mine that tells you your brain isn’t quite as on board with this scale of change as you thought?

One thing I’m trying to do – as well as develop strategies to eventually get some PhD writing done – is to get better at all the things that I’m doing to distract myself. Mostly that’s making music (obviously), and photography. I bought a new lens about two weeks before we got locked down, so it’s been good getting to know what that makes possible. And for my troubles, I end up with a bunch of new promo shots. Next up: video! Going to film some stuff for my Bandcamp subsribers soon…

Hope you’re finding enough ways to stay in touch with people and get space to be honest about how all this is impacting you. Stay safe, friends. x

Here are some of the pics from Tuesday:

Blue Hair Don't Care

Why “Follow For A Follow” On YouTube Isn’t Helping

A few thoughts on this YouTube subscriber swap thing that’s going around… (in case you’ve missed it a LOT of musicians have been promoting the idea that we should reciprocally follow one another to help reach the 1000 subscriber limit so we can start monetising YouTube channels, and then play each other’s videos on mute to gain revenue) 

FWIW, I’ve been on YouTube for 14 years, have just shy of 2K subscribers, have other videos on there posted by bass accounts that have generated hundreds of thousands of views, but IF I’d been monetising my account from the start (that wasn’t even possible back then – at least a third of my views on there were from before there was ANY money in YouTube), my total number of views would’ve made me significantly less than $500. In 14 years. Maybe a few bucks more if I could’ve persuaded people to watch ads on them.

See, you get paid almost nothing on YT for your music. Like, effectively nothing. You get paid for people watching ads. So you’re asking the people who are watching your videos to spend hours and hours collectively watching bullshit so you can make pennies. If that’s a byproduct of you doing what you do anyway, knock yourselves out. Go for it.

But making ‘content‘ so that you can somehow start from scratch while quarantined to make any money at all through YouTube views, AND trying to get that happening through a network of other people who are also trying to make content and aren’t even following anyone based on whether they actually like what they do??? Are you high? If your understanding of who you are is that you are an artist trying to sell your work, this is not your business.

I get that you’re trying to come up with strategies to make this work at a time when we’re REALLY struggling to stay afloat, but getting people to spend hours watching stuff they aren’t invested in so you can make pennies is not a good use of our time in quarantine. It’s not good economically and it’s not good spiritually, and it’s not even remotely likely to make any sensible money for anyone but Google.

If you already have stuff on YouTube and want to earn some scraps for it, sure get registered for ad revenue. But honestly, it’s not worth anything unless THAT’S YOUR BUSINESS. Like, a full time job. A quick google search suggests that 7 MILLION views a year (it’d be a hell of a production/marketing task to get 1% of that on content you own the copyright on – remember, you won’t get paid for videos of cover versions unless you license/register them, the writer will) will pay you LESS than I make a year from 260 Bandcamp subscribers.

I’ve said it god-knows how many times, the streaming economy has no response to this. The major labels and streaming companies COMBINED initially donated less to help musicians through this than Bandcamp earned for them in one day of waiving their fees and promoting it as a day to help. One day. Rihanna has donated more than her entire industry combined, just because she gives a shit. (Spotify have since announced $10M of matched funding donations to three music-focused charities )

An economic model designed to massively prioritise paying people for already-famous music that doesn’t require a marketing or production budget is never going to be a sustainable ecosystem for a mass of creatives to earn a living. Stop trying to make fetch happen. If you’ve had a viral hit on a playlist or two on Spotify and have made some money, that’s brilliant. I want my friends and colleagues to make money, but it’s not sustainable across the system, and trying to game YouTube with some ‘follow for a follow’ nonsense is not going to suddenly get you all the kind of resilient audience who are willing to watch ads to see your stuff that is needed to make money off this.

Last thing – every person I know who is making SERIOUS money off YouTube (or is using YouTube as a significant part of their marketing funnel to a business that makes money – not the same thing) has studied this stuff to a significant level. They aren’t just great musicians or teachers or gamers or whatever. They are deep into marketing techniques, into the kind of video they need to make to get views, they study click through rates and patterns, interpret YouTube stats about viewer retention, they are constantly tweaking that shit to make it work.

My advice? Make the best art you can. Focus on the art right now. YouTube aren’t throwing anyone a lifeline. Everyone’s at home watching video, and you’re competing with people who’ve been in this game for a decade, have teams and a strategy. Just make great art, and make a case for the people in your audience who REALLY CARE ABOUT WHAT YOU DO and have the means to pay for it to help support it.

Reciprocal follow-me-back strategies have been around since MySpace, and they always suck. They are never pro-art, and result in a bunch of pushy, aggressive people seeming way more popular than their art deserves because they chase the follow-backs, not because they have anything worthwhile to share.

In short, the massive problem with this is that it assumes the the number of followers that it says you have on your YouTube page is more significant than the community of interest that the number is supposed to represent. Follow for a follow is a low-grade simulacrum of an actual community that are invested in what you do and care about it. It represents how many people were needy enough for their own follower count to go up that they would also click yours. You and your art deserve much, much better.

Do your art
Shout about the stuff you love
Invite the people who can afford to to support art – not just your art.
Stay safe.
Wash your hands.

Helping Artists When Money Is Scarce – Thoughts From Isolation

I’ve talked a lot on social media over the last few weeks about the ways in which music fans who have been fortunate enough to maintain some level of financial stability through the beginnings of the pandemic lock-down can help artists out. Primarily through buying music, and using this time to reconsider where our economic relationship with the people who make the music we love has ended up after a decade of the streaming economy dominating the conversation.

However, one thing that’s apparent in all this is that the economic impact of this upheaval is so spectacularly uneven, and not sliced anywhere near the usual economic faultlines. I have some relatively poor friends who have been able to shift their work online who are stable for now, and some others who were doing astonishingly well up til the cancellation of all their work who are facing financial ruin and some incredibly tough decisions.

The financial support that those of you who’ve been able to have already offered to musicians – particularly through the massive uptick in Bandcamp sales, as well as through the many GoFundMes that have been set up – has been SO helpful and so hugely appreciated, but I want to make it extra clear that no-one should feel bad about not being able to help anyone else financially at this time. The uncertainty is real and terrifying for so many, and in many instances it would be deeply unwise to be buying music when your own next paycheck could be months away…

Instead, here are a few simple things you can do if you want to give back to artists who are struggling right now, without spending any money:

  1. Send them a message. I’ve had a number of emails from people saying that specific bits of my music are helping them get through this, and honestly, that shit is worth its weight in gold. It’s an incredible feeling to know that you’re able to help in tangible ways just by doing your art as best you can.
  2. Make it public – reviews on Bandcamp are always an absolute treat to read, and really do help with sales etc. Now, they feel like the universe reaching out and affirming the reason we’ve all done this stuff for so long and allowed ourselves to live such economically precarious lives. Quite a few people I know have taken to Tweeting their quarantine soundtracks, either with or without tagging the artists in. I’ve both been deeply encouraged by the ones listening to me, and have discovered some great new music from the ones who are including links. If you’re able to shift the focus of your Facebook conversations about music away from yet more nostalgic promotion of 70s rock stars and instead give a shout to some struggling current artists, that would be hugely helpful.
  3. If the artists you care about are involved in any online activity to try and rebuild their creative identity without the clarity that gigs brought to that process, help them spread the word. I’ve watched some fabulous live streaming gigs, and have where possible been sharing links to the artists’ other work in the chat. Just give them a nudge – a surprising number of artists are playing catch-up with the potential of the internet to build actual audiences and communities beyond just Facebook event invites and instagram carpet bombing…

In short, encouragement can mean a whole lot to a musician sat at home wondering what the fuck they’re going to do for the next two months and how they’re going to last til this ridiculous government decide to finally give the self employed some help…

Go and declare your gratitude, and thanks again for all the music shopping. It’s been a lifeline for so many. 

Thoughts on Starting a Subscription

Right, these thoughts come from a place of having had a subscription running on Bandcamp for over 5 years. I was one of the first three artists on there to get to trial it a full year before it went public. I was also consulted on what features it should have before they went live with it, so there’s a load of my thinking in there.

I also subscribe to a whole bunch of people on BandcampThomas Truax, Corey Mwamba, Andrew Howie, No Treble and Julie Slick – and a range of stuff on PatreonDivinity Roxx, James Chatfield, TheLitCritGuy, Double Down News and Jay Smooth.

I’m seeing a ton of people set up subscriptions and Patreons in the wake of the Death Of All Gigs thanks to COVID-19, and I thought it might be helpful to offer some advice. Take it or leave it, but at least give it some thought:

  1. Think about the value of what you have to offer. This may seem obvious, but it’s really easy to get caught up in what you think it’s worth to you to make it. But what you’re offering is a service. It may well be that people who sign up to it are doing so because they care about you and want to help maintain you through difficult times, but you’re doing that via the mechanism of a subscription to your art, not a begging bowl. So give a good thought to what you’re providing for the money.
  2. This is a marathon not a sprint – be realistic about the work rate you can sustain when declaring what you’re going to do for people’s money, and don’t over-stretch yourself. I’ve seen so many people burn out by over-committing themselves to Kickstarter pledges, and it only gets worse if every month you’ve got to make a whole bunch of postcards or cakes or whatever and mail them out to people to keep your subscriber commitments. If you’re really into making stuff, that’s absolutely fine, and if the quality of what you make is consistent, and acquiring a lot of it is valuable that’s brilliant, but give some serious thought to what you promise. My own Bandcamp subscription promises 4 new albums a year – two public, and two exclusive. Last year my subscribers got 11 albums. The promise hasn’t changed. I love being able to over-deliver and not having to charge them more. It means people are way more likely to stick around, and you can have hilarious conversations with them about not being able to keep up. I’ve also included a couple of eBooks as extras, and as much video as I can produce that’s of high enough quality to deserve their time. All at no extra cost. The key concept is under-promise and over-deliver.
  3. Think about how what you’re asking impacts their ability to support other artists. I keep going on about this, but if you’re asking someone to spend the same on you as they would on their Netflix account, you’re leaving little room to support other artists. If any of the people I support in the list above were asking for £10 a month, I’d have had to decline. Because if they all did, I’d be broke. My subscription started at £20 a year, and has gradually increased until it’s now £30 a year. It’s still an absolutely ridiculous amount of stuff you get for that money – and the original subscribers are still on the £20 rate cos they get grandfathered in – and a lot of people have chosen to voluntarily pay more because they want to support what I do. That’s great, but I fully support them also being able to unsubscribe and resubscribe at the lower rate at any time so they can use that money to spend on other people. At the very least, it’s wise to have various tiers so there’s room for people who aren’t loaded to subscribe to you and not have to miss out on everyone else.
  4. Talk to your subscribers. This one is more about sharing some of the value I’ve got out of this. I’ve never had any interest in the idea of “fans” – I don’t want a bunch of fans who just get my music and dig it. I want a community of listeners who are actively engaged in the how and why of the music’s existence. So much so that I’m doing a PhD exploring what that means. (I’ve often described my grand project as being ‘how do I make music that matters without pretending I’m special?’) A subscription is an incredible opportunity to get to know the people who dig your music. Your subscribers aren’t a cash cow that pays your bills. They’re people who for whatever reason believe in what you do and the value proposition of the subscription offer. Do not disrespect that. Talk to them, find out about them, what they’d like, what else they’re into. Point them to other people’s work, build a wider community of people whose work your subscribers can share in.
  5. Think about the production values of what you can put out. Hearing crackly tape recordings of the Quarrymen rehearsing in the late 50s is amazing. Hearing your poorly thrown together demos for your next album is less compelling. Live bootlegs can be fun, but an endless supply of hissy recordings of the same tunes loses its interest pretty quick. If you’re an improvisor, or are constantly remixing and rejigging your material, or regularly learning cool covers, that’s tailor-made for a subscription model. Plenty of value, plenty of surprise. If you can collaborate, so much the better for adding variety to what you have to offer. If you’re going to do video, work on making it better and better over time. Running my subscription is an invitation to me to get better at every aspect of what I do – music, mastering, artwork, videos, story-telling… My subscribers aren’t a necessary nuisance that I’m putting up with for the money. They’re the most brilliant context within which to make work without having to come up with a marketing strategy for every album. If you’re not an improvisor, you need to work out how to tell the story of the one album you make a year in a way that is compelling enough to get people to pay for the privilege of being a part of it, or just charge way less so it’s basically an album pre-order thing that spreads out the money through the year. I’m surprised there aren’t more of those, to be honest…
  6. Don’t judge your own artistic merit by how prolific someone else seems to be. The way I make music, and the world I’ve built around me to make it possible is all 20+ years in the making. None of this is accidental. The actual terms of my Bandcamp subscription offering makes sense because I’m an improvisor who records every gig and collaborates as much as possible. I can make a LOT of music of a consistently really high quality and release it without any extra overhead. I did a mastering course to get better at it, I constantly practice the artwork side of it, I’m a journalist so the writing part of it is easier than it might other wise be. Your subscription doesn’t have to look like mine! If you want to have a really low stress, low impact one that just lets people support you in exchange for a new live track each month, it’s fine to charge 8 or 10 quid a year, and not pile on the expectation. Those people will hopefully stay with you, and as your offering increases, you can up the price. It’s also OK to make one album every so often and make the subscription about some other aspect of your work – lessons, or a studio documentary. Get the best camera you can, do it right, but telling stories is a brilliant use of a subscription. Beardyman has set one up that’s mostly about his process. You get his weekly songs, but also the chance to get deep inside how he does what he does. That’s a much higher value offering than most, because it’s lesson-based. Tuition has a different value metric to documentary work or finished art. People often have different budgets in mind for art-stuff and learning-stuff.
  7. Choose the right platform for what you want to do – Patreon and Bandcamp offer completely different sets of affordances for your art and storytelling. Bandcamp is, not surprisingly all about music. You can upload photos and video in the main message feed to your subscribers, but if you want to offer PDFs or any other file type, it either needs bundling with a single or album, or your need to host it elsewhere. On the other hand, Patreon is really rubbish at metadata on music files. And as far as I’m aware, still doesn’t do conversion to other files types for you. If you want it available as MP3, Flac, ALAC, AAC etc. You need to upload them all. The files can end up all over the place, with bogus formatting and variable quality. I couldn’t deal with that at all, so it would never work for me. That said, you can have a Patreon for storytelling, and just send your Patreon subscribers download codes for Bandcamp when the album comes out. Think about how the flow of media and information works and which offers the best platform. Neither is gofundme, neither is a begging bowl, both place you in an ecosystem where the people offering similar things around you become the standard against which your output and value will be measured to some degree. So think about it, and check out how easy it is to change the offering as you go along…
  8. My recommendation would be to start really cheap. Especially if you don’t have a ready made audience that have expressed a desire to support you like this. Get your initial backers in at the ground floor at a low monthly or yearly rate. These are the people who will be with you for the long haul, get them onboard ASAP for a low price and keep them close. You can increase it over time as the offering gets more polished and the value is reflected in the size of your audience. But don’t price yourself out of existence to start with. We have two main things against which we measure ‘value’ here – subscription costs to everything services (Spotify is $10 a month, Netflix a little more these days) and the cost of ‘albums’ – a similar amount for a single non-discounted album on iTunes or Amazon. Work out how to make your offering look like unmissable value. Then go to town telling people the how and why.
  9. Talk about it a lot. I’ve been on board with Bandcamp since almost day 1. I took all my music off almost every other platform 8 years ago because I was committed to what Bandcamp had to offer me in terms of the relationship with my listeners. I’ve been talking up its benefits for a decade, and the subscription specifically for 5 years. It never stops, you need to make a case for what you do. You need to make it compelling, and you need to do it over and over. For some of your audience, they’ve been told relentlessly that ‘no-one pays for music any more’ and that Spotify is how you ‘support music’. That’s clearly bollocks, but don’t look down on people who’ve bought into it. Spotify is horrible, and you may have to explain repeatedly why you’re not just putting all your music on there or the video on YouTube. Make the case firmly but gently.
  10. If you’re unsure how it works, subscribe to someone else for a while. There’s no better way to know what it’s like for the end user than to become one. Try some subscriptions out, support some other artists, see what you like and don’t like about what they do and how they do it. Research your project like you actually want to get it right!

Now, go do your research, and if you’ve got any questions, hit me up in the comments below.

Two New Solo Albums + “Bandcamp Day” News

Last Friday, Bandcamp – the music sales and streaming platform that I use for all my music distribution – donated all of their revenue share back to artists for 24 hours. This was an amazing gesture, resulting in several million pounds/euros/dollars ending up directly in the bank accounts of musicians struggling to pay bills and find ways to replace lost live income right now.

I released two new albums on Friday to celebrate – a public release of February’s subscriber only album, Better Living Through Technology, and the brand new (dis)order. Listen to both here, and click through if you’d like to buy them for just £2 each :

The feeding frenzy of sales was extraordinary, and ground the Bandcamp servers to a halt at various times through the day. Still, the headline stat for me is that when you add up all the new subscribers, sales of my entire catalogue and all the people who bought one or a few albums (at the new £2 price per album across my entire Bandcamp shop), I sold just under 900 albums Between Friday and Sunday. If those had been individual copies of the same album sold to separate buyers, that’d be enough to land me in the lower reaches of the UK album charts…!

So firstly, a massive THANK YOU to everyone who bought anything during the day, or even listened to it and decided it wasn’t for you – I’m grateful you took the time, and you found something else that was more to your liking elsewhere!

These are perilous times for musicians, and my decision to focus my release strategy around the community of listeners on Bandcamp 10 years ago has made me a fair bit more resilient to these changing economic times than my friends whose strategic success plan was for a viral hit on Spotify. I really hope they find it, but I’m insanely grateful for the compact community of curious and caring music lovers who sustain me via the Bandcamp subscription.

If you’d like to join us, please head to stevelawson.bandcamp.com/subscribe – the community aspect is going to be ramped up through this time of isolation with subscriber video hangs and some creativity inspiration videos. If that sounds good to you, go check out what’s on offer…

And if you’re looking for a new soundtrack to these uncertain times, please go check out my fan account on Bandcamp – I bought more music in the last 3 days than in perhaps any comparable period in my entire life (matched maybe by a trip across the US in 2004 when I ended up throwing away clothes so I could fit more CDs in my suitcase 🙂 ) – it’s all there. <3

 

Further Thoughts On Streaming Gigs And What To Do When You’re Quarantined

Here are some extra thoughts on streaming gigs and beyond (culled from a thread I wrote on Twitter yesterday, so this may read in a slightly stilted way!):

Streaming gigs are great for capturing a moment. The sense that you’re watching with other people can be wonderful. But that requires a critical mass of whatever size you’re looking for. They aren’t so great for building a new audience AND getting paid. But let’s face it, almost nothing is good for building an audience AND getting paid.

The other big problem with running a live stream gig is that they don’t ‘fail gracefully’ – there’s no cascade of it ‘sort of working’ – if you’re trying to play live online, it either works or it doesn’t. A dodgy connection kills it, a faulty webcam kills it, sound problems kill it… It can take quite a few attempts to get right and you may not have the time or resources to properly trouble shoot your tech and platforms…

SO, here are some alternatives to just streaming a gig, that you may find useful to modify based on your own situation:

  • Recording a live-off-the-floor session, filming it properly, upload to YouTube, release the album on Bandcamp.
  • Doing a covers EP swap with another band. Do each other’s songs
  • Collaborating, filming the sessions, compiling it, putting it out as a mini-documentary with the track(s) for sale.
  • Hosting an album live stream with a live ‘director’s commentary’: talk through it, play acoustic versions of the songs, explain the lyrics. Gather your tribe
  • Host a fan Q&A – make it PWYW, or attach it to a track/album download. Chat to people, take questions via twitter, answer them on a stream.
  • Give a masterclass on how to play one of your tracks. If musos dig your music, do a live breakdown, with Q&A.

Here’s the thing – for YEARS, so many artists have been giving away premium fantastic-ness as free stuff to try and get people to listen to our music on a platform that pays almost nothing. That’s a terrible strategy, but y’all have trained your audience to think it’s OK. If you want to unwind those assumptions, TALK TO YOUR AUDIENCE.

Your fans are NOT to blame for listening to you on Spotify if that’s where you put your music. If the streaming economy is failing you at this time, you need to go back to your audience and talk to them about the realities of trying to make the music they love.

We’re facing a situation where there’s literally nothing about the Spotify economy that’s going to help us. We’ve bought into the idea that competing for the lottery win of a viral hit is motivation enough to make & release music on poverty wages, & we’ve had gigs to plug the gap. That’s not the case now. The task at hand requires us unwinding some of the assumptions that we’ve made, and some that our audience has made, and perhaps embracing the smallness of an audience that give enough of a shit to help us stay afloat…

building that tribe is a totally different strategy to hoping for 200,000 active streaming listeners a month to help make your recording career work.

So, you need to find your audience, talk to them, and make the music available in places where they can help AND feel a sense of belonging

right now there are two places that do that better than all the others combined – Bandcamp and Patreon. It can be a massive struggle to get your listeners to care. People with huge audiences that are vaguely interested in you can find that their core audience who actually care is tiny

Focussing on that audience and its growth can feel insane. Like, why wouldn’t you try and reach out to the 500,000 people who’ve watched your stuff on someone else’s channel YouTube? Because the clickthrough rate to buying music from YouTube is appalling. It happens, but it’s not a solid strategy.

If you want and need a bunch of people who will sustain you, you need to work at it, and that may initially be really small. I have a HUGE diffuse audience of people who know my stuff through YouTube, ScottsBassLessons, Bass Guitar Magazine, radio etc. But I have 250 subscribers who sustain me, materially and spiritually.

Growing that 250 is what matters to me. Feeding them, nurturing them. So almost all my output is subscriber only. I could stick it all on streaming platforms or YouTube and it’d be worthless. There’s enough stuff of mine on YouTube sending people my way. I’m building the tribe. So many things about what I do are utterly specific to how and why I make music. They’re things that rely on me having had a 20 year career, an incredibly high rate of production, being a writer and audio engineer, collaborating widely. NONE OF THAT HAPPENED BY ACCIDENT.

Bottom line: Your process and intended output need to match. I’ve spent 20 years getting to here, because I made the music the most important thing and build a life around making it possible. So now that so much of the infrastructure around the expected way that musicians operate is threatened, I don’t need to do a u-turn to talk to my audience…

So yes, you need technical strategies and know-how for streaming gigs etc. But you REALLY need to think about how you’re going to talk to your audience, where they are & what you’re asking from them vs what you’re offering them in return.

I really hope you find a way through this – let me know if I can help.

Steve’s Top Tips For Running A Live Stream Gig

In the midst of all venue shut downs and tour cancelations over the COVID-19 pandemic, lots of people talking about streaming gigs while quarantined. It’s a great idea. The bummer is that most of the best platforms to have emerged over the years got shut down eventually through lack of a funding model (or acquired by tech-berks who wanted the tech for something else)
 
Anyway, this document has a bunch of info about the ones that are still in play if you want to get your stream on…
 
 
If you’re going to do it, here are my top tips, from the last 13+ years of doing live streaming gigs:
 
  • Get the audio as good as you possibly can. That’s way more important than multi-cam complexity. Use a desk/soundcard to mix it, or quality mics if it’s just acoustic. If you have to use a built in mic on a webcam, spend some SERIOUS time getting the levels and positioning right.
  • Lighting really matters. Get it right so people can see you. A fairly crappy webcam can look great if you can get something resembling daylight happening in your house. Practice this the day or so before you actually do the stream.
  • Get someone else to man the stream. Trying to monitor the stream while playing is really hard. It can be fun on an IG live stream, but if you’re doing a paid event, get a family member or friend to help monitor the stream and respond to comments etc.
  • If you can, film it with better cameras for later upload. Archiving a stream is fine, but if you can get an HD version for upload, you can even upsell it to people who watched the original gig for some extra $.
  • As with everything like this, if you want people to do this, plug everyone else’s live streams too. I can’t stress enough that every aspect of our attempts to keep the arts economy alive HAS to be communal. No-one has the luxury of just wanging on about their own shit as though they’re the only thing that matters. If people get into streaming gigs and buying on Bandcamp, we all benefit. Just plugging your own stuff over and over means you’re trying to do the conversion to new platforms and new experiences all on your own, so it’s not only selfish, it’s stupid and laborious.
Please feel free to share this around if it’s useful to you… 

Brand New Career-First Live Video :)

It’s been quite a while since I last posted here. Sorry about that, will try to be a better blogger in future 🙂

Anyway, big news – for the first time, an entire show of mine has just gone live on YouTube. It’s the middle one of the three gigs from Italy a couple of weeks ago, the album of which has just been released too, for Bandcamp subscribers. Watch the video here – it’s pretty moody and atmospheric, but the wider angle shot gives a good view of what I’m up to!

If you want to get the album of the show – called Half Life – along with the first Italian show, released two weeks ago, called The Aesthetics Of Care, and 55 other albums from across my career, PLUS everything I release in the next 12 months, you can subscribe via Bandcamp.

As we’re staring down the wrong end of the entire live music sector facing several months of cancelations for touring and shows, now is a really good time to have a think about how the music you care about is financed – the streaming economy just isn’t equipped to respond to a crisis of this magnitude, especially for the thousands of niche artists for whom there is no one form of income. Everything is piecemeal and everything is precarious. So album sales, merch and subscriptions via Bandcamp or Patreon provide a source of more instant cash to both live and carry on making music when the gigs that often keep us going week to week have fallen through. No-one plans for a pandemic when thinking about the economic framing of their music life, so almost no-one has any savings or a back-up plan. As this runs into festival season, even those musicians who teach during term time are going to struggle.

So as well as inviting you to buy my music or subscribe at music.stevelawson.net, here’s a link to my Bandcamp collection, where all the music I’ve bought on Bandcamp lives – a massive amount of music that I love and recommend to you to investigate and buy what you dig – bandcamp.com/solobasssteve