Taylor Swift, Spotify, and the Musical Food Chain MythBy -
Estimated reading time: 10 minutes
by Doria Roberts
© 2014 Doria Roberts/Chatterbox Blues
“The most common way people give up their power is by thinking they don’t have any.” –Alice Walker
I cannot tell you how happy I am that the conversation about Taylor Swift and Spotify is happening. Maybe people will start listening to what independent artists like me and my peers have been saying for years now.
A little background…
For those who don’t know me, I’ve been a indie musician by choice for 22 years. In 1999, I was chosen to perform at Lilith Fair and quit my day job the following Monday. I attracted several major labels, but ultimately, I walked away because I felt the industry was not going to be supportive of me, the business model was almost laughable for a new artist with little leverage and an insidious law called the Work For Hire Copyright Law had been passed that year, which prevented copyright ownership from reverting back to artists and remained with record labels in perpetuity. Like, that means forever. Luckily, Sheryl Crow and Don Henley went to Capitol Hill and had it repealed, but, by then, I was determined not to be become a cog and had committed to my full time life as an artist.
And, you know, I had good run of it…
Fast forward to 2008 when everything was crashing. I don’t think people think of artists being affected in a failing economy, but we were. Gas prices were sky high as were flights so expenses went up and venues started paying less because fewer were able to come out to the shows because they were broke, too. And, for the first time in all my touring history my American dollars lost value going into Canada. It was sobering to say the least.
In the years preceding this, I saw a slow but very deliberate decline in my music sales, which was more than just supplemental income, it was nearly half of my income. So, I stopped touring full time to assess the situation and come up with solutions.
The only solution I found that allowed me to stay true to who I am an artist was to stay put—which brings me to today.
Life As An Artist Now
Like clockwork, once or twice a week since I stopped touring full time in 2008, I get asked when I’m coming back to XYZ. And, like a broken record once or twice a week, I’ve had to say I can’t afford it. I’ve had to explain that not only have physical CD sales been down, but also the digital money I used to get from legal downloads all but disappeared. Instead of getting weekly payments ranging between $200-$750 from my distributor, I started getting an average $11.36, once a month from all streaming services combined. Yes, $11.36/month is what I get from all of them. That is not a sustainable business model for a truly independent artist.
While carefully building and maintaining a social media connection with my fan base and doing mostly one-offs in some of my bigger markets, I decided to do a full regional tour in 2012. And, while I am grateful to the people who came, I had miserable turnouts at most of the shows. In Buffalo, where the temp dropped to 30 degrees that night, I cleared $14 once the door was split with the venue. In Philadelphia, where I started my career, I lost upwards of $1,500-2,000 on one show because only 12 people showed up. It was the night of the Presidential debates, something I couldn’t have known when I booked the show months before. But, I still had to pay the venue, their door person and sound person, pay my band, pay for their hotel room and mine for three nights so we wouldn’t have to stay in NYC, paid for their flights (along with baggage handling fees for my cellist’s cello), my rental car, gas and food for myself and the band (breakfast, lunch and dinner). Same with DC where the venue wouldn’t even allow me to officially charge a door fee and where some people (my fans included) opted not to pay one even as a requested donation.
This is my reality and the reality of the many artists you care about.
I’m sorry if you think so, but music is not free. It costs money to make and it costs money to support via touring. It’s a “life cycle”. This “life cycle” is how I used to get my CDs out and how I used to see my fans two to three times a year in some places. It worked like this: Fans would come to my shows, they and their friends would buy my CDs, and then I made another CD and went on a another tour, and so forth and so on.