Here’s another video from Hip Hop duo Passalacqua out of Detroit, MI. They were the recipients of funding from the Kresge institute in Detroit and are going to be part of this five-day multidisciplinary celebration in the city celebrating visual, performance and literary artists among many others. Check out the video of Brent and Brian giving a peek into their musical world and all they’re trying to accomplish in Detroit in the video just below.
Check out this cool little video of a journey all the way from Detroit, MI to Austin, TX with a band of courageous, intrepid indie artists and some of their supporters/friends as they head to SXSW 2013. I got the chance to meet them and they’re really good folks. Although that’s not a surprise since they’re from my hometown. Only bad part is that I missed one of the pop up shows that some of the artists did down in Austin, as well as a house party, but hey, you can’t make it to everything at SXSW. Regardless, get a peek and do your research on the likes of COLD MEN YOUNG, PASSALACQUA, JAMAICA QUEENS and many more doing their thing up in the D.
Here is the latest video from St. Louis songbird, creator, innovator, entrepreneur and my homie Teresa Jenee entitled “Ode to October” from her independent music project Electric Yellow. Support excellent indie music like this. It’ll do your soul some good!
Music has changed, all around, plain and simple. Ideals that were formerly thought of as standard and set in stone are now shaky at best in the eyes of many a music business professional and music consumer. And one of the people on the front lines of the changing music business model has been Jeff Price, the former CEO of TuneCore, the famous digital music distribution service that helped independent artists get on the shelves of many of the world’s top digital music services. Price, who also started TuneCore’s Global Publishing Administration and ran independent label spinART, recently contributed an article to Hypebot.com that gives a short history of the changes that have been happening to the music industry in the last 10-15 years. Price exudes an unparalleled confidence in his knowledge and experience in the music industry and does a masterful job of breaking down both where the industry has been and the direction it’s beginning to go in, as consumers and their tastes continue to drive the industry more and more. True, Price’s takes a very hard-lined stance against the major/mainstream music industry, but this is still a great and informative read that anyone interested in the business side of music would do well to read and learn from.
You’ve gotta admit, sometimes it’s pretty easy to become a Debbie Downer about music and the way that it used to be. And that’s especially true if you’re an artist these days, because there has been so much change and so many shifts in the last 5 years alone, save the new millennium as a whole. First there was Napster, then came iTunes, then Facebook and the idea of music on social network sites, and things haven’t been the same since. But there’s also lots of hope to boot, and that’s because of the fact that many times, we forget to look at one main fact: there’s more music now than there ever was before, more variety, more of a chance to step outside of a comfort zone and do something different.
This fact is played up in stark and honest detail by Prefix Magazine music writer Sasha Geffen in her article “Closer To Home: Music Community In The Internet’s Wake”, which first appeared on prefix.com just two days ago. What I love about this article is how Ms. Geffen gives a brief but telling history of how music and the Internet have converged in the past decade plus, and how many elements of the old model and beginning to fall away. What’s even better is that she doesn’t take the role of a bleeding-heart anti-consumerist and gets down to the real deal with the reality of what labels, were, are, and will become. Finally, Geffen does an excellent job of talking about how music communities have been formed and molded even more so since the Internet has taken over, and how “making your own making it” is pretty much the new normal for artists and bands.
Anyone that calls themselves trying to “make it” in music would be foolish not to dive into this opinion piece. Kudos to Sasha Geffen and to Prefix Magazine for such a stirring and timely piece. and be sure to visit Prefixmag.com for some of the latest and greatest in all things music.
I’m gonna make this a really short post, mainly because I want to read it and then go out and get the actual resource that I’m referring to. We all know TuneCore as the premiere outlet for digital music distribution, especially for independent artists. Well, some of the creators and original founders of TuneCore have been gracious enough to put together a digital eBook called “Music Industry Survival Guide”. In this eBook, The company gives a bunch of down to the nitty-gritty, basic but much-needed information for any indie artist in the game today, from areas of promotion, distribution, sales & marketing, getting heard on the radio, and a whole lot more. And the best part of the book is that it’s not very long at all! At only 15 pages, the TuneCore creators made sure to give only the most basic information needed.
And even more good news: TuneCore has put out a series of these manuals, as the latest version, available on the TuneCore Music blog, focuses on thirteen ways of making money off of your music (here’s a link!). I’d definitely suggest “Music Industry Survival Guide” by TuneCore for anyone that’s getting started in the indie music business and is looking to not only make a name for themselves, but wants to make a good living off of their art. Check out the cover art below, and visit THIS LINK for more information on getting the latest “Music Industry Survival Guide” from TuneCore.
I read this Op-Ed piece on Hypebot today and thought that I would go ahead and try to repost it here on my blog. It’s authored by Hypebot special contributor Charles Alexander, songwriter and founder of artist services firm Outside The Box Music. He’s also director of the music marketing learning series ‘Rock Your Net’, and has some pretty strong beliefs on the current treatment of indie artists by the mainstream. Take a look for yourself!
This year the mainstream music establishment was preoccupied with letting the indie/DIY community know they were “Not Good Enough.” In fact, some gatekeeping factions of even the DIY/Indie community seemed to reinforce this theme (more on this later).
Who’s A Grammy Darling?
The rumblings started in February at The Grammys when Esperanza Spalding won Best New Artist over better known names like Mumford and Sons and Justin Bieber. So much so, A member of Bieber’s Army hacked her Wikipedia site to say “Who Are You Anyway?”
Bieber also labelled the night “a failure” because he didn’t win.
In the same month, The Civil Wars released “Barton Hollow” that promptly became the #1 downloaded album on iTunes and #1 on the Billboard Digital Albums chart.
Yet some folks still have a tough time accepting their success.
The Grammys didn’t even consider them for Best New Artist. Although, they have been nominated for Best Folk Album & Best Country Duo/Group Performance. Oddly without much major country radio airplay when it mattered.
And this year at a major music conference, an established music manager all but called them a fluke. I was right there in the audience. I had this feeling the rockstar manager was just bummed that he wasn’t the one who “broke” The Civil Wars. So props to TCW management team, Sensibility Music.
Seems like all the critical acclaim and all the commercial success is still “Not Good Enough.”
If You’re Not Making Money On Spotify, You Suck
Earlier this year, Spotifystruck a deal with the majors. With the majors reportedly pocketing a cool $60-100 Million dollar advance. While independents got to rely on the hundreths of a cent per stream model. Don’t get me wrong – as a consumer, I love Spotify. But as a musician/artist, I think it sucks.
The labels very likely have equity in Spotify as part of the deal. But who knows what they get in return, cause these deals are not transparent and are covered by (sometimes multiple) non disclosure agreements (NDAs).
This of course prompted some indie acts to cry foul and pull their catalog off Spotify. Which in turn resulted in Jay Frank formerly of CMT and now DigSin to make the observation:
Zoe Keating rebutted this statement with a very eloquent and well thought out response.
Other artists have made the same observation. Even commenting that they make more money on giving away music or even encouraging piracy of their music.
It’s fine to say that Spotify is a great discovery platform. I don’t necessarily disagree. But discovery only helps if you have the opportunity for creating and nurturing long term relationships with prospective fans which Spotify doesn’t offer.
All this reflects a larger attitude in the mainstream where so called “power players” have decided that indies or DIYers are not worth bringing to the table in formulating decisions about the future of music. As Ariel Hyatt observes, independents don’t get invited to this party. Because the perception is that the content generated by indies is simply not good or valuable enough.
Should also be noted here that I know Jay Frank. He is a good guy. He is also an author who has a book out about writing hits based on prevailing trends in hit songs. This algorithm can then presumably predict the possibility of a song becoming a “future hit.” Not sure where prior knowledge regarding song craft or God forbid, emotion, comes into play.
SOPA – Piracy vs Parity
This fall some members of Congress introduced the Stop Online Piracy Act (SOPA). The bill is being pushed by the RIAA & the MPAA. After reading much of it at Open Congress (follow the money trail), I’ve decided that this bill is a bad idea and bad policy.
So I joined forces with a small but dedicated group of artists and tech innovators to work against this bill. One of the first things we heard from folks on the other side was how we don’t represent artists and creatives. I’m not sure who gets to decide who does or doesn’t represent any particular segment in the halls of Congress – but I’m pretty sure the entities espousing this bill on behalf of artists, songwriters and creatives don’t represent my views and those of forward thinking artists. Just ask Janis Ian.
This bill has very little to do with protecting IP and everything to do with keeping a stranglehold on the channels of distribution. Loss of control of channels of consumption for the old school music business means loss of revenue from traditional income streams that feed an obsolete business infrastructure.
Because artists who have learned to leverage free and open forms of communication suddenly find themselves in a position of power over traditional power brokers who have gotten used to being in charge. They want to keep it that way.
One of the ways to do this is to control what you get to see and hear online. The Stanford Law Review published a position paper on this. Read their take:
Piracy is bad. Censorship is worse. The above by the way is an analysis of rev 2 of the bill. Which is the “less bad” version of the bill.
The entrenched old guard want SOPA because they want major labels and big business to control distribution. In turn indie/DIYers are denied an equitable market share. If anything this year has proven that indies need to be awarded more opportunities. Not less. A larger segment of indie content creators deserve the right to be heard and seen in the marketplace. Even on major commercial distribution channels in primary markets.
Consequently they are also entitled to a larger percentage of income streams generated by content they have helped create. Not just 9 cents. Or the bare minimum.
It’s worth noting here that while the RIAA and everyone in their camp have been complaining about piracy and declining music sales, CD Baby and TuneCore the main aggregators for digital music distribution used by indie artists are reporting sales in excess of $350 Million dollars in just the last 3 years. In each of those cases, there was no “down” year.
Finally the largest volume of static this year was generated from the roots based indie/DIY ethic driven Americana genre. Linda Chorney, a NJ based indie artist, managed to leverage the Grammy 365social network to get herself nominated for a Grammy in the Americana category.
Her music isn’t my cup of tea. But at least she sings on key and performs with conviction. And without any pyrotechnics or electronics to mask her deficiencies. That alone deserves some kind of award…
Even the egalitarianism espousing Americana community seems to be upset about someone leapfrogging over their place in line and picking the lock that christened gatekeepers have so carefully guarded. My friend, Paul Schatzkin, details this saga over at his blog at Cohesion Arts. Kim Ruehl over at No Depression also goes the distance with a look-see at this nomination. She also turned me on to the fact that Eddie Vedder has been nominated for Best Folk Album. What???
So you know where I am going with this, right? All of this “You’re Not Good Enough” messaging is hogwash.
It’s just that it’s in the best interest of the mainstream music establishment to perpetuate this myth. In spite of the successes of The Civil Wars’, Arcade Fires, Julia Nunes’, Pomplamooses, Louis CKs and Amanda Palmers of the world.
You see if these acts are acknowledged as being legitimate, reproducible accomplishments then those reverberations echo through the offices of the RIAA, MPAA and the hallowed hallways of The Grammys.
Suddenly highly paid gatekeepers and tastemakers become obsolete. Entire belief systems begin to crumble. The entire musical arena becomes a level playing field. There is no distinction between premium and low grade. There is only good and bad. And either can come from major labels or independent entities. The fact that they are pre-labeled as being one or the other is no pre determinant as to the quality of the content. The people consume and they get to decide.
This isn’t a paradigm shift. It’s a complete tearing down of the curtain to reveal what is real about music. All that is left is emotion, truth and the experience. Though having capital to invest and market in any business is critical, it’s not about how much money is spent behind an act. The main criteria for success will be how audiences respond. In fact to some extent, it will be all that matters. The monetizing will happen after the fact. Not before.
So in this season of gifts and miracles and new beginnings. Give yourself this gift. Know that you are good enough. Embrace it.
Then go knock out another brick in the wall…Happy New Year!
Go to Hypebot for the original post, and feel free to share your thoughts here, as well. Thanks!
I decided to put an article I did for brooklynbodega.com on THE MUSIC BUSINESS REVISIONIST in it’s entirety. It outlines just a few of the things 21st Century artists can do to begin working towards success independently. Feel free to pass it along and spread the word. Thanks!
Business is never so healthy as when, like a chicken, it must do a certain amount of scratching around for what it gets.”–- Henry Ford
In a recent survey conducted by VIBE Magazine entitled The VIBE Ultimate Music Survey, the current landscape of the brave new music world that engulfs us was placed in crystal clear perspective. VIBE surveyed a pool of music fans and asked them about their listening, purchasing, downloading and sharing habits. Some of the key statistics go as follows, so take note:
-On an average day, 34.8 percent of respondents spend between 2 and 3 hours listening to and consuming music.
-28.4 percent of participants claimed to discover new music exclusively from music blogs.
-Nearly 30 percent of participants felt a sense of indifference to free music service LimeWire being shut down in 2010.
-33.2 percent responded that the purchase price of $1.29 for a song on iTunes is “very reasonable”.
-Over 25 percent of respondents said that they would not at all feel guilty downloading music that was unknowingly leaked and unauthorized by an artist.
Now, don’t get too down in the dumps, all you aspiring and seasoned artists out there. None of this is to say that there aren’t still rays of sunshine and glimmers of hope. The very same study reveals a few facts that may be interesting and surprising about today’s music consumer. For example, 71.3 percent of respondents still own some type of CD-playing device that is not a computer. And 34.2 percent still swap music via physical compact discs. So hey, this whole making-a-career-as-an-artist might just work out pretty sweet after all, right?
Well, hold your horses. Because even with these surprising and eye-popping results, the honest-to-God truth remains: it’s getting harder and harder to make a decent living, let alone a buck, as an artist. And that truth is only magnified if you’re gonna claim Hip-Hop as your bread and butter. Physical CD sales continue to crumble, technology is moving at break-neck speed, potential fans are bombarded with a ka-trillion marketing messages per day, more and more entertainment outlets are competing with each other for consumer dollars, and music has become a disposable good. And to top it all off, the economy STILL sucks. Hell, even VIBE itself has created a new mobile music app for aspiring DJs! The times they are a-changin’, and a-transformin’, and a-morphin’…
So what’s an artist to do these days? Let’s face it: these are, at best, very questionable economic times for many people, and artists seem to be feeling the affects like no other group. Which begs the question: how does one navigate such a pessimistic sales landscape in the music and entertainment industry, while still doing all they can to keep their integrity and make good money in the process?
It’s important to realize a few things from jump street about today’s Internet-drenched, 24-hour news channel, digital-driven Hip-Hop and music game, no matter what stage you’re at in your career. First, when it all comes down to it, this is a business. If you’re an artist in the 21st century, you’re automatically an entrepreneur/businessperson. You are your own brand and your own entity. Second, you can’t do it alone. Every great talent needs an even greater team around them of people that are dedicated to their success. And that means in all areas, especially the ones you may not necessarily want to deal with or feel you shouldn’t have to: management, legal, marketing and PR, promotions, publicity, operations, sales, press, communications, design, distribution, social media, retail, the list goes on. Third (and arguably most important, as well as my favorite consideration), the music business is about a whole lot more than just music. Meaning that, eventually, it’s necessary for an artist to look beyond just CD, Mp3 and iTunes sales and do whatever possible to branch out.
True, it’s a lot to swallow. And yes, it’s easier said than done. But hey, like many have opined before, challenging times also present great opportunities. And there are many a music industry expert out there that continue to hold fast to the idea that this is actually one of the best times to be an artist or musician in the industry. Sounds kinda crazy right? But there may actually be some method to their madness. So, with all of that to chew on, here’s a list of a few of things that today’s Hip-Hop artist can do to wade through all the muck, mire, damage, desolation and craziness that is the 21st century music biz, while actually making some money and keeping that all-important sanity thing that we all need to get through life. And away we go:
Look beyond the standard record label model
It’s a standard practice, especially when it comes to Hip-Hop. Wanna go indie? Fine, just start your own label. Unfortunately, it’s quite obvious that the label model isn’t the most profitable anymore, be it indie or major. So how about taking a good, long look at some of the areas of the business that might not be as glamorous, but might still put some extra change in your pocket over the long haul? Among them, music publishing and music licensing. How about forming your own publishing company for between $25 and $100 if your music is already released on a recording? Or, possibly licensing your song for a commercial, website or mobile game app? It takes a little research, but yes, it can be done.
Sell your music and merchandise on a tier system
A few years ago, there was a pretty popular story on an indie singer/songwriter named Jill Sobule. A struggling artist that was looking for a way to fund her next music project, she eventually created the website Jillsnextrecord.com, where she gave fans the opportunity to make donations of as little as $10 to her cause. In return, she offered goodies such as free digital downloads, free admission to her shows, and even executive production credit on her album. Now, how about taking that idea and adapting it to the music you already have? The more of your music and merchandise your fans buy, the more they get in return. It’s important to know that today’s music fans loves to feel as if they’re part of something and had a hand in helping you get to where you want to be as an artist, on top of the fact that people always like getting stuff. Has the little light bulb gone off in your head yet?
Think like a fundraiser
When the word ‘fundraiser’ comes up, many folks either think immediately of an elementary school contest or a handout to a non-profit organization. But the definition has changed in the new age music industry. In the past few years, there have been a great number of websites/companies that specialize in this very practice. Over here in the states, one of the most popular is KickStarter.com, which bills itself as the largest platform for creative project in the world. Over in the U.K., there’s SlicethePie.com, which specializes in artists raising funds for their own projects and fans getting paid to review new music and support emerging talent. Even Hip-Hop veterans Public Enemy raised a reported $75,000 through the website SellABand.com for their next project. Many of these sites and companies have come into existence in response to record labels cutting costs, jobs, artists and whatever else they can to save a buck. So take advantage if you haven’t already.
Stay educated, informed and adaptable
Yes, I understand, it’s such a cliché. But there’s so much importance in staying informed in this day and age. This is mainly because there is so much information out there! To be honest, there’s not much of an excuse to not educate oneself as an artist about how the industry continues to change. From free eBooks that you can download to new music business websites that are created day-by-day, you’ve gotta take advantage of all that’s being offered to you, many times for little or no money.
How about we start with a few websites? ArtistHouseMusic.com’s tagline is, “helping musicians and music entrepreneurs create sustainable career.” The site has a series of videos, articles, case studies and strategies that many artists have taken advantage of throughout the years. ProHipHop.com actually has it’s own Music Business News section that focuses specifically on Hip-Hop. And Music Business Solutions (or mbsolutions.com) has tons of articles, books, consulting information and even a resource directory for any artist looking to take that next step.
It’s probably a good idea to grab some physical books, too. A few of the best that have come out in the last few years include This Business of Urban Music by James L. Walker, Esq., I Don’t Need A Record Deal by Danyelle Deanna Schwartz and Music Marketing: Press, Promotion, Distribution and Retail by Mike King.
Seek out sponsorships
Truth be told, the economy really isn’t anyone’s’ friend right now. But there are still companies that are either just getting off the ground and make a name for them or are going through a period of reinvention. As an artist, you may be able to take advantage of this. The key is to seek out a sponsorship from the right company. And the easiest way to do that is to get with a company whose products or services you already support on a regular basis. Be forewarned: not as many businesses are willing to let go of actual dollars. So your next step is a product sponsorship. Who knows? Maybe it could lead to some money from that very same company in the future.
Tap into other talents
Be it graphic design, journalism, teaching an instrument, having a radio voice, or just about anything, you might just have a hidden talent that others don’t know about. Maybe you don’t know about it yourself. The point is, as an artist, you might have to make due with some pretty slender pockets these days. So, if you aren’t already, why not supplement your income? There’s no time like the present.
Take a closer look at what’s happening in other genres and see if you can apply it
Hip-Hop has always been a genre where those that succeed have a hustler’s mentality. And as opposed to other kinds of music, at least to some extent, Hip-Hop has bred success while simultaneously enduring some of the greatest resistance and criticism as an art form. That being said, there are many artists from many genres that have taken cues from Hip-Hop to breed their own success stories.
Well, maybe now it’s time to turn the tables. There are advances happening all over the music industry from Indie rock to Electronica to World music. It might be a good idea to keep your eyes and ears to the street wherever you can. Yes, you definitely want to keep up with websites like HipHopDX.com, AllHipHop.com, Vibe.com, TheSource.com and Brooklynbodega.com, among others. But hey, there’s absolutely nothing wrong with being wired in to publications like Rolling Stone, The Fader, Paste, XLR8R, SPIN, Blender and Complex. You’ve also got a plethora of alternative music blogs at your disposal right now, like Obscure Sound and Gorilla Vs. Bear, and online music charts like WeAreHunted.com.
The bottom line? The music industry is a big, wide-open space where cross-collaboration is happening more than ever before. You never know where your next great idea is going to come from, so it’s important to be open-minded and willing to seek out success from resources you hadn’t thought to consider before.
Create your own community
Some people would say that social networking is the best thing that ever happened to the independent music artist. Others contest that it opens up the doors for more crap to come crashing through. But whatever your position may be, it’s an understood fact that if you don’t have any type of social networking tool at your disposal in this day and age, you’re pretty much screwed.
But understand, the whole social networking thing goes far beyond, Facebook, Twitter, MySpace (or whatever it’s called these days), Reverbnation, and all of the standard tools that everybody’s using. For example, Talib Kweli and 50 Cent are two artists that have done great at taking advantage of creating their own social networking sites, Kweli with his YearoftheBlacksmith.com and 50 with ThisIs50.com, of course. If you didn’t already know, you too can create your own social community of fans where you can sell your music, update fans on upcoming shows, have people comment on your music, connect with other artists, and so on. The two main sites that folks use to do this are SocialGo.com and Ning.com. And there are plenty of specialized social sites specifically for artists where you can build a profile, connect with fans and artists, sell your music, create contests and potentially secure more funding, including IndabaMusic.com, Amie Street, JamGlue, MOG.com and Buzznet.com.
In the end, making it as an artist in music and entertainment takes what it always has and always will: determination, sacrifice, adaptability, networking, knowing the right people, and a bit of stubbornness, among many other attributes. And the times we’re living in have magnified this fact tenfold. So it’s more important to seek out advantages in whatever form they might come. It’s just a matter of taking that first step. Hopefully, these tips can start you in the right direction.
The music business is, and always has been, about a lot more than just music. Money is a major issue, and that’s something that just won’t change. For the longest time, it’s been fairly difficult for independent artists to gather the funds they needed to produce the product that they want to give to the public. But oh, how the Internet and other technologies have changed things!
Nowadays, it’s become just a bit easier for an artist to go out on their own and actually raise the money they need to cover those expenses such as studio time, marketing and promotion, staffing, and a plethora of other areas needed to make a sellable product that people will actually support. And that’s because websites such as Kickstarter.com, PledgeMusic.com and SlicethePie.com have become more and more popular spots to gain actual monetary resources.
And there are many out there who would definitely swear by these sites as a means to their financial ends when it comes to their art. What’s most interesting about the likes of Kickstarter, PledgeMusic and SicethePie are that they seem to put the power in the hands of both the artists AND their fan base. An artist creates a concept for a project to be funded and places it on the respective website for their entire supportive fan base to see, who in turn go digging in their pockets to give as much support as possible to that artist. And to date, their have been thousands of these artists that have been given million (yup, MILLIONS!) of dollars to fund not just music albums, but movie projects, video games, web series, comics, fashion, photography, and much more!
But this brave new world doesn’t come without its hang-ups and pitfalls. Sure, these sites seem to put the power back in the hands of the people. But, is this really a sustainable model for the new music economy? What happens to all of those projects that do not get funded and pretty much fall by the wayside? Are all of the projects the DO get funded really deserving? Do Kickstarter, PledgeMusic and SlicethePie all really have the potential to change the way creative projects are funded, especially if we’re talking the ever-changing music industry? And, in terms of entrepreneurship, will companies such as this be able to create even more profitable, growing businesses in the process, or are these just one shot deals?
The truth is, there’s a lot more that needs to be proven before these still fairly new independent funding platforms can be called the next great wave of fundraising and entrepreneurship. But for now, if you’re an artist looking to make your way on your own, or even an entrepreneur/mogul in training, it would probably do you some good to take said new sources into account. After all, even with all the supposed glitz and glamor that come along with the industry, there’s still nothing like having your own.
I thought I’d begin this new blog by highlighting an organization that’s been in the business of providing real, true and great content and information to artists that are very much interested in being successful not only as artists, but as their own business and brand. That organization is ArtistHouse Music!
The main tagline for ArtistHouse is: “Helping Musicians and Music Entrepreneurs Create Sustainable Careers”. We all know that these days, there are even more opportunities for musicians, artists, bands, music marketing professionals, managers, etc. to make a descent living without having to bend to the will of the majors. Many of us also know by now that being an independent artist/label/professional comes with its own set of worries and issues. And this is where ArtistHouse comes in.
Visit the site at http://www.artistshousemusic.org/ and you’re immediately exposed to a number of informative videos, articles, news clips and other resources ranging on topics from marketing, law, education, production and strategy, among other things. Aspiring musicians and business people can get prime advice from experience professionals from all walks of the music and entertainment business at the click of a button! Dig even deeper, and you might just find much-needed guidance on specific subjects like touring and merchandising, retail and distribution, publicity and promotion, and even a few ArtistHouse Master classes at your disposal. If you’re a 21st Century artist, why wouldn’t you try your best to take advantage?
Trying to highlight all of the resources available at ArtistHouse would be foolish, because there are simply too many to name in one setting. That’s just how extensive the website is, and in turn, that’s how much the organization can offer to those looking to not only make their break in the ever-changing music industry, but whom are also doing their best to stay educated and successful. And nowadays, that’s more important than ever. If you’re looking to make your break, you might do yourself some good by visiting ArtistHouse Music’s site and getting started on your way to success, not just as an artist, but as a music business entrepreneur!