Right, now the subscription is up there, we can have a chat about what it might mean, right?
After all, the word ‘subscription‘ has become somewhat tainted amongst musicians by the conversation around Spotify’s pricing model. Little work seems to have been done to look at what in particular people are listening to on Spotify and the degree to which its impact on sales is asymmetric (sales lost and streams gained not being to the same people) not to mention the whole ‘correlation or causation’ conundrum. But generally, lots of musicians are now thinking subscribing to ‘everything‘ = booo!! hissss!!
So what does it mean to subscribe to just one artist rather than ‘nearly all music‘, and what kind of artists and their listeners are going to benefit from this?
First up, it’s important to acknowledge that this isn’t new. It’s new to Bandcamp, and as a service integrated with the Bandcamp platform, it may well end up being revolutionary, but the idea has evolved from the pioneering work of quite a few people, not least of all (as is so often the case) Kristin Hersh, whose Strange Angels supporters club is exactly this – an annual subscription members club that gives those subscribers access to all kinds of things. Her pricing is tiered, so you can get all kinds of awesome exec perks if you pay a tonne of cash, but for not very much you can get a whole load of music and sometimes cheaper tickets at gigs, things like that. For someone as prolific as Kristin (she has three main projects on the go – her solo work, Throwing Muses and 50 Foot Wave) it’s the ideal way to not be reliant on the vagaries and speculation of the standard model of
- borrow money,
- make a record,
- hope it sells,
- wait to recoup before doing the next one,
- or just pile up the debt in the hope you get a track on a film soundtrack and clear the decks at some point’ deal…
Continue reading “More (long) thoughts on subscription services.”