The US-based Future of Music Coalition has been running a project called Artist Revenue Steams (ARS for short) to dig into how modern musicians are making their money. As part of that, FMC has published five case studies of individual, unnamed artists: a jazz bandleader/composer, an indie rock composer/performer, a jazz sideman/bandleader, a professional orchestra player and a contemporary chamber ensemble. The case studies are based on 4-12 years of accounting data provided by the musicians, breaking down their music income and comparing it to their expenses. There is plenty of detail to explore via the link below, but key findings include the importance of performance as a revenue stream, as well as its spin-off benefits like selling CDs on the road.
Future of Music Coalition is a national nonprofit organization that works to ensure a diverse musical culture where artists flourish, are compensated fairly for their work, and where fans can find the music they want. One of their recent projects has been the Artist Revenue Streams Financial Case Study - a multi-method, cross-genre research effort that’s examining how musicians’ revenue streams are changing, and why. The research is fascinating and extremely valuable for artists and all stakeholders in the music business and helps us understand the financial landscape for creators and what it takes to sustain their work.
The Future of Music Coalition has released data from its Artist Revenue Streams research project, where financial case studies drawing from 4-12 years of accounting data provide information about how musicians are making a living today. These five case studies provide a financial profile of different types of full-time musicians. Each case study graphs and explains the musician-based sources of income over time, and the results tell a lot about the state of today’s music industry.
The case studies reflect the working lives and income streams of five different types of full-time musicians: […]
Future of Music Coalition has released the next data set from its groundbreaking Artist Revenue Streams research project: five financial case study profiles that provide rich, verifiable information about how certain musician types are making a living. […]
Washington, DC-based nonprofit Future of Music Coalition interviewed 80 different musicians and composers, conducted nearly a dozen financial case studies, and ran an online survey completed by over 5000 musicians to uncover…how today’s musicians are earning money.
US-based orchestras have a rich history of making sound recordings of classical repertoire. Have you ever wondered if and how the performers are paid when those sound recordings are sold?
This question came up while we were working on a case study of a young professional orchestra player as part of our Artist Revenue Streams project. While categorizing his income streams, we realized we didn’t know how sound recording revenue flowed back to performers. Was it a profit split with all current members? What about the money generated from legacy recordings that are still sold? read more
Last week on his show Keen On, Andrew Keen wrapped up a series of music-industry-themed interviews (which included BitTorrent’s Bram Cohen by talking to RIAACEO Cary Sherman.The conversation is pretty tame, and Keen mostly just lets Sherman speak his piece, so I wanted to take a closer look at his answers and respond to some of his claims. This is not a complete transcript, but the first part of the interview is embedded below—in the next post I’ll look at part two,in which Sherman answers some questions from Keen’s viewers. read more
Kristin Thomson is a community organizer, social policy researcher, entrepreneur and musician. She is co-owner of Simple Machines, an independent record label, which released over seventy records and CDs from 1991-1998. She also played guitar in the band Tsunami, which released four albums from 1991-1997 and toured extensively. In 2001, Kristin graduated with a Masters in Urban Affairs and Public Policy from the University of Delaware. She has been with the Future of Music Coalition since 2001 and has overseen project management, research and event programming, including Future of Music Policy Summits from 2002-2007. She currently lives near Philadelphia with her husband Bryan Dilworth, a concert promoter, and their son, where she also plays guitar in the lady-powered band, Ken. read more
I’m honored to see that the folks at the RIAA have taken the time to read our Sky is Rising report. Unfortunately, they don’t seem to like hearing the news that the wider music industry is actually thriving — because it doesn’t work well with their legislative strategy (and, remember, the RIAA’s main focus is on passing new legislation to help legacy gatekeeper record labels — not in helping artists). And, this is understandable. As we detailed in the report, as well as in my talk at Midem, a popular music industry conference, the real story of the report is that the market is thriving for artists and consumers, but is much more challenging for big, lumbering legacy players. That would basically be the RIAA’s membership. read more