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Why now is the time for the Music Industry to change!

Why the music industry needs to change from Full Pelt Music
Photo by Rahul Pandit from Pexels

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As Blossoms strode onto stage in Liverpool’s Sefton Park in front of 5,000 non-socially distanced fans, the UK was reminded of just what it had been missing. The music loving island that has played a key role in the formation of the music industry as we know it, was shown again just what was at stake!

The aim of the gig which also saw The Lathums and Zuzu play to an audience starved of live music for over a year was to establish a safe route back for the music industry. Now, let’s consider something. We all love music, we all love live music and by default we all love the music industry. We naturally want to see it return as we remember it. You know from before the c-word, before the world stood still.

Where is improvement needed?

Here however is what we need to consider. Should the industry be allowed to return just as it was? Again, we all love music, that’s no doubt why you are reading this article! But, if we take even a cursory glance back then it should be clear that the industry was far from perfect. There were and still are many issues within the industry that need to be addressed. Thankfully there are many great groups and organisations working to advocate change and force improvement.

The most important step that we all must take now is the realisation that the industry isn’t perfect and that only by all aspects of the industry working together can positive change be installed. We want to do a small but important thing with this article, and that is raise awareness.

Since the inception of Full Pelt Music at the turn of the year, we have already written about a handful of subjects. We spoke early on about the relationship between music and our mental health in our blog ‘Mental Health, Music and Me’.

We have also addressed the plight of our grassroots music venues in our blog ‘Why We Need To #SaveOurVenues’; and we looked at the impact of music streaming in our blog ‘Why We Need To Fix Our #BrokenRecord Industry’. We won’t repeat ourselves here, but encourage you to take the time to read these articles.

How does change happen?

As we said, there are many aspects of the industry that need to be improved. Whilst the pandemic has had ruinous effects on the industry it has provided an opportunity to make these changes. If not now, then when?

As we return to music, we also need to rebuild the music industry. We need to actively embrace diversity and equality. This goes deeper than simply the percentage of female performers on a festival bill, although of course that is a metric which highlights the current disparity well. This requires more than social media campaigns highlighting racial inequality and abuse.

The work needs to happen at the grassroots level but needs the mainstream to lead by example. Youth programmes that aim to educate and nurture are vital, but action from the top is essential; one example being the need for tough action from social media companies.

The Government and the various regulatory authorities need to up their game as well. Actions speak louder than words, and if the pandemic has taught us anything it’s that the financial support for the industry and from the top of the industry has been too little and too late. Any support has also often bypassed those most in need.

Yes, we have faced an unprecedented situation that has devastated many industries, but the music industry has had a unique opportunity to improve. Let’s look at accessibility. With music venues closed, what better time has there been for remedial work to take place which provides greater access for deaf and disabled people to live music.

The problem has again been the lack of support and funding from those with the power to facilitate this change. With music venues, particularly independent ones, on their financial knees they can’t be vilified for not taking action. Better foresight and ambition from Government however could have seized an unwanted but ideal opportunity.

What’s the answer?

In writing this article we certainly don’t purport to have all the answers. We don’t even assume to know all the barriers to change. All we want to do is continue many conversations that are being held by organisations and individuals far more knowledgeable and industrious than us.

It is time for change. Because if not now, when? Thankfully there are many groups actively striving for this change and making a difference now. What they need is our support. With that in mind, we want to draw your attention to just a handful of these organisations. There are many more out there doing fantastic work.

Now is the time to speak up, help advocate the change required for our beloved industry to return better than ever. To return with a safe and positive environment for all!

MUSIC VENUE TRUST

THEIR MISSION

Below excerpt from Music Venue Trust

Music Venue Trust is a UK registered charity which acts to protect, secure and improve Grassroots Music Venues.

Created in January 2014, we aim to secure the long-term future of iconic Grassroots Music Venues such as Hull Adelphi, Exeter Cavern, Southampton Joiners, The 100 Club, Band on the Wall, Tunbridge Wells Forum etc.

These venues have played a crucial role in the development of British music over the last 40 years, nurturing local talent, providing a platform for artists to build their careers and develop their music and their performance skills.

We work to gain recognition of the essential role these venues fulfil, not only for artist development but also for the cultural and music industries, the economy and local communities. We aim to preserve and improve venues, making them more efficient and improving the experience for performers and audiences. Long-term we plan to acquire the freeholds of as many of these vital venues as possible.

More Information

ATTITUDE IS EVERYTHING

THEIR MISSION

Below excerpt from Attitude is Everything

The future we want to see…

Deaf and Disabled People can be audience members, employees or artists at any live music event of their choice: music without barriers.

What we’re doing to make that future a reality…

Attitude is Everything works in partnership with audiences, artists and the music industry to improve Deaf and disabled people’s access to live music.

Our aims:

  • increase the number of Deaf and disabled people participating in music
  • raise awareness of the barriers that Deaf and disabled people face at live music events, and to demonstrate how to overcome them
  • show and highlight Best Practice in access, and set an example to those we wish to influence
  • develop the skills and confidence of Deaf and disabled people so that they can better engage with the music industry

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SAFE GIGS FOR WOMEN

THEIR MISSION

Below excerpt from Safe Gigs for Women

Safe gigs for women is an initiative established by regular gig goers with the aim of creating a safer environment for women at gigs.​ ​Our aims are:

Gig goers
Work with gig goers to spread the word that it is not okay to grope, threaten or harass others. Encourage victims to speak out, and supporters to advocate that this behaviour will not be tolerated

Venues
Work with venues to ensure they take reports of sexual harassment and other threats to women seriously. We will work with venues to create a standard in the industry for safe venues. We will then campaign to get the standard adopted nationwide.

Bands
Getting bands on board to recognise our standards, talk about our work and get their audiences recognising and spreading what is acceptable​.

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NICK ALEXANDER MEMORIAL TRUST

THEIR MISSION

Below excerpt from Nick Alexander Memorial Trust

The Nick Alexander Memorial Trust award grants for musical equipment to community groups and small charities across the UK, particularly those representing the most disadvantaged and marginalised sectors of society, be that through poverty, physical or mental illness, disability, ethnicity or age.

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JOE STRUMMER FOUNDATION

THEIR MISSION

Below excerpt from Joe Strummer Foundation

Our mission is to provide opportunities to musicians and support to projects around the world that create empowerment through music.

Our objectives are specifically:
  1. The prevention or relief of poverty, particularly of young people, anywhere in the world by providing: grants, items and services to individuals in need and/or charities, or other organisations working to prevent or relieve poverty.
  2. To promote, improve, develop and maintain the education of the public in the art, culture and science of music in all its aspects for the public benefit, in particular young musicians, including by the provision of funds for the purchase of musical instruments and studio rehearsal.
  3. To promote, improve and advance the arts, including music, for the public benefit including by the presentation of exhibitions, public events and concerts.

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SOPHIE LANCASTER FOUNDATION

THEIR MISSION

Below excerpt from Sophie Lancaster Foundation

The aims and objectives of the Charity are as follows:

Create a lasting legacy to Sophie

Provide educational group-works that will challenge the prejudice and intolerance towards people from alternative subcultures

Campaign to have the UK Hate Crime legislation extended to include people from alternative subcultures

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WE ARE HUMMINGBIRD

THEIR MISSION

Below Excerpt from We Are Hummingbird

We are Hummingbird is a non-profit Mental Health awareness organisation. We are a community of music lovers who have united to spread awareness of mental health by using music as a platform to encourage people to open up and engage in conversation. 

More Information

The above are just a very small selection of charities, organisations, groups and individuals that are fighting the good fight. Take some time out to research causes close to your heart and get involved to make our industry a better place.

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Remembering Independent Venue Love

Frank Turner Remembering Independent Venue Love

We take a look back at the incredible Independent Venue Love livestream series by Frank Turner

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A necessary but shocking side-effect of the first lockdown and beyond is the impact on the live music industry. An industry that revolves around bringing people together in confined spaces to celebrate life and art. Music and particularly live music is vital to the mental health and wellbeing of millions of people, and the loss of that medication has added to the already scary situation we have all found ourselves in.

When the world ground to a screeching halt in March 2020, the primary concern for all of civilisation was rightly to fight the devastating coronavirus and to protect against loss of life. Alternatively as the government put it – “Stay Home, Protect the NHS, Save Lives”.

Read our Blog – ‘Mental Health, Music and Me’

The music industry and the incredibly talented people that make up the sector is by its very nature creative and innovative. As we all searched for new ways to connect with our loved ones and our passions, musicians had the answer. Welcome to the world the music livestream!

Read our Blog ‘Livestreams: Good or Bad for the Music Industry’

One man seemingly ahead of the curve on this front was Frank Turner. Turner is known to be “always on tour” as it were, and was in fact mid-tour as the pandemic hit. Turner was quick to hastily ready a special livestream event from his own home raising money for his touring family.

At the same time, the reality was dawning on the live music ecosystem of the potentially fatal impact caused by the pandemic countermeasures. In particular the Music Venue Trust, who do amazing work year round even in non-pandemic times, were busy mobilising. The MVT were well positioned to see the threat to the grassroots music venues of the country.

We have gone into depth on the subject in our blog – ‘Why We Need To #SaveOurVenues’, but ultimately the venues that foster and cultivate the entire music industry were in trouble. Sadly many face the threat of closure due to non-pandemic related issues. The events of March 2020 onwards however threatened these venues, the lifeblood of live music, to the point of extinction.

The perfect storm called for urgent action and one man taking notice and standing tall was that man Frank Turner. Soon we were all introduced to a new concept from Turner, Independent Venue Love. A series of livestream concerts taking place every Thursday during lockdown to raise desperately needed funds for at risk music venues.

A different venue would be supported each week and each week would see a unique set list. In creating this series Turner raised much needed awareness and financial support for venues. By doing so he helped to safeguard the future of live music; perhaps most importantly though, Turner also provided an escape from the terrifying realities of pandemic life. The Independent Venue Love series will have played a powerfully positive role in raising spirits and safeguarding mental health for music fans desperate for a distraction.

In our first ever End of Year Awards, we picked Turner as our ‘Artist of the Year’. You can read what we wrote about this decision in our ‘2020 Year in Review’. Basically we feel Turner deserves a medal for his efforts in arranging and performing these fantastic events. Turner has raised a phenomenal amount of money and has helped countless people through horrifying times either directly or indirectly.

That is why we thought it would be fitting to celebrate and remember the Independent Venue Love series here. You can peruse the posters for each event in the gallery below.

Now let’s get started in documenting the series.

Early Facebook Days

As we all adapted to pandemic life, we strived for the best communications technology. Many discovered the wonders of Zoom meetings for example. When debuting the IVL series, Turner took to Facebook Live. A learning experience for all, some early streams were impacted by connectively issues and eventually led to a change of internet provider for Turner and a move to Youtube.

The first five events featured on Facebook Live (and a dabble on Instagram!) saw Turner begin a career retrospective; with each week featuring another release in chronological order.

Vol.1 – ‘Sleep is for the Week’ for Nambucca, London

Vol. 2 – ‘Love Ire & Song’ for The Joiners Arms, Southampton

Vol. 3 – ‘The First Three Years’ for The Railway Inn, Winchester (Support from Jess Guise)

Vol. 4 – ‘Poetry of the Deed’ for The Forum, Tunbridge Wells

Vol. 5 – ‘England Keep My Bones’ for The Shed, Leicester (Support from Jess Guise)

Move to Youtube

From Volume 6 onwards Turner would move the weekly series across to Youtube with better connectivity results. Turner would continue to progress through his career retrospective to the delight of his fans. A drinking game would also emerge for fans at home based initially on apologies to either his wife Jess or his mother.

As Turner’s gameplan to play his back catalogue continued, fans were treated to rare song outings. These outings occasionally would see the odd forgotten lyric, and the terming of the phrase to Varley in ode to fellow musician Will Varley. Eventually each Varley would be incorporated into the drinking game!

Vol. 6 – ‘Rarities and B-Sides 2011-2014’ for The Parish, Huddersfield

Vol. 7 – ‘Tape Deck Heart’ for Molotow, Hamburg

Vol.8 – ‘Positive Songs for Negative People’ for Union Chapel, London (Support from Jess Guise)

Vol. 9 – ‘Rarities 2013-2019’ for The Booking Hall, Dover

Vol. 10 – ‘No Man’s Land’ for The Portland Arms, Cambridge

Beyond the Albums

With his released back catalogue now exhausted and lockdown one (known back then, simply as lockdown!) still persisting, Turner needed to explore different avenues for set list material. A demand for a ‘Disney Set’ initially failed to materialise until a special shortened bonus set one night.

Turner however would push on with additional themes to continue his herculean effort (Joe Wicks eat your heart out!). Volume 13 would also take place from inside the venue Turner was raising funds for as signs of normality began to appear. Volume 14 would be titled ‘The Final Stream’… little did we know what the future had in store.

Vol. 11 – ‘Covers’ for Phase One, Liverpool

Vol. 12 – ‘Covers by Friends’ for The Cavern, Exeter

Vol. 13 – ‘Grand Aid’ for The Clapham Grand, London (Support from Ciara Haidar, Gerry Del-Guercio & Beans on Toast)

Vol. 14 – ‘Greatest Hits’ for The Cobblestones, Bridgwater (Support from Jess Guise)

Here We Go Again!

No we are not doing Whitesnake Karaoke! A brief return to real life saw some socially distanced music possible. Turner in fact was able to play numerous shows including our ‘Gig of the Year’ as awarded in our ‘2020 Year in Review’.

Sadly the pandemic took a horrific turn for the worst. With venues still at risk and people desperate for escape, Turner and IVL would make their triumphant return in January (otherwise known as Lockdown three!). This time around Turner’s wife, Guise, would move to an important mediator role as fans got to pick the setlist!

Vol. 15 – ‘All Requests’ for The Lantern, Halifax

Vol. 16 – ‘All Requests’ for Boom, Leeds

We reviewed Vol. 15, check it out here

Catalogue Rewind

Next, Turner would return his setlists to periods of his career. Each performance featuring songs from an assigned period.

Vol. 17 – ‘First Three Albums’ for Waterloo, Blackpool (Support from Jess Guise)

Vol. 18 – ‘Second Three Albums’ for The Venue, Derby (Support from Pet Needs)

Vol. 19 – ‘Third Three Albums’ for The Black Heart, Camden

Vol. 20 – ‘Rarities and B-sides’ for Dirty Rockers, Dudley

Vol. 21 – ‘Jess Guise Requests’ for The Lexington, London

The End!

We all hope and pray that a return to normality is on the horizon. That the incredible work of scientists and our key workers will save lives and allow life to resume. Volume 21 closes the IVL series with a request set from Jess Guise herself.

Turner has achieved amazing results from the IVL series. The fact is that he didn’t have to do this, and for that he deserves recognition.

The Music Venue Trust, Independent Venue Week and all organisations and groups working to protect our culture deserve special praise also.

Sadly the end of the pandemic and the return to relative normality won’t remove the threat posed to our grassroots music venues. Please when safe to do so, support these venues, support your favourite bands, support new bands, support music!

Music Venue Trust
Independent Venue Week

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Read our Blog – ‘Why We Need To Fix Our #BrokenRecord Industry’

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Why We Need To Fix Our #BrokenRecord Industry

Why We Need To Fix Our #BrokenRecord Industry
Photo by Karolina Grabowska from Pexels

We look at why we need to fix our #BrokenRecord Industry to ensure fair payment of artists from music streaming platforms.

What makes a #BrokenRecord Industry?

The music industry has been changing greatly in recent years and that evolution has now been exasperated by the ongoing coronavirus pandemic. With the industry shaken to its core by the restrictions resulting from the virus, there is perhaps no better time than now to take action to secure a healthy and prosperous future for this vital industry.

Music is of course vital to so many; both those that work within the industry and the customers that rely on the industry. I recently wrote about the relationship between music and my mental health in my blog ‘Mental Health, Music and Me’, and it’s true that for many people this industry is essential to their happiness and positive mental health. It is therefore imperative that this industry is allowed to thrive.

The industry however is far from perfect and many existing issues have been highlighted further by the pandemic. I have always split the music industry in two. I have written about the struggles of the Live Music Industry in my blog ‘Why We Need To #SaveOurVenues’, so in this feature I’ll be focusing on the other side, the Record Industry.

The coronavirus pandemic has of course been a horrific and sobering time for everyone and every industry. The collapse of the live music industry due to various restrictions has had many disastrous consequences on the overall music industry.

I have also written however about the few positives that have arisen from this unprecedented situation. In a creative and innovative industry, many have turned to livestreaming to reach their audiences. I explored the positives and negatives of this evolution in my blog ‘Livestreams: Good or Bad for the Music Industry’.

Another positive to come from everybody having to stay at home, is that they have had more time to listen to music. The resurrection of Vinyl continued with sales growing for a 13th consecutive year and music streaming continuing to rise in popularity. It is the negative side of this positive however that has given rise to the #BrokenRecord movement and that is what we will explore in this article.

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The way that we consume music has changed drastically over the past decade or so. The beginnings of the digital age saw the rise of illegal file-sharing where fans found they were able to swap and share digital versions of the music that they loved.

The problem with this activity was that it completely eliminated the artist from the process of music consumption by the end user, and of course the price point of zero meant that artists saw no profit from this medium.

The knock-on effect of this was the drastic decline in the purchase of physical media such as CD’s. Of course the sales of Vinyl had already almost completely diminished, and the less said about Mini-Disks the better!

In order to combat illegal free downloading of music, the industry reluctantly brought into the concept of legal paid downloads; iTunes being the go to name at the beginning. Over the pursuant years we would see many contenders emerge for both downloading music and a new concept – streaming music.

Interestingly we would also see a kick back against digital music with the resurrection and continued resurgence of Vinyl!

A global leader in the streaming of music is Spotify. This is a company that initially felt like a swear word, their platform felt too good to be true and many will have questioned the legality of it, because if something feels too good to be true, usually it is!

Fast forward to now and Spotify is accepted into homes across the world and is for millions of the people the platform of choice for music consumption.

The benefits of streaming are numerous for both fans and artists. Having entire libraries of music at the touch of a button helps fans find new acts and helps artists reach new audiences. There is however one major downside that needs to be addressed.

So, with the ongoing pandemic allowing more people more time to listen to their favourite artist, or perhaps find their new favourite artist, let’s ask a few questions regarding music streaming. Picture this – you are sat working from home and have been listening to your favourite new album on repeat, how much money do you think that said artist has just earned?

#BrokenRecord campaign founder Tom Gray shared the below table showing the rates of pay by the various streaming platforms.

Streaming payout data shared by #BrokenRecord founder Tom Gray

So, if that album you listened to has 10 tracks and you listen to it 5 times today on Spotify. Your consumption will pay 14p. Now consider that if you brought that album on CD you’d probably have spent roughly £8.

My next question is where do you think this money goes? How much would you expect the artist who wrote, performed and recorded the music to receive? Let’s explore the issues that exist when paying streaming royalties.

Physical Terms in a Digital World

Let’s consider that the artist in question is signed to a large record company. Their standard deal which they signed will likely be a Recoupment Deal. With this deal the artist will effectively have to repay all costs and expenses associated with the making of the album. Realistically this means they cannot earn royalties until they have repaid the overall cost of the album, until then all profits go to the record company.

Remember that this debt is repaid only from the artist’s percentage of the royalty. It can therefore take years for a relatively successful artist to see any earnings from their own music. You may ask why would artists sign such deals, but ask yourself how many artists have a degree in economics? Consider that even if they have three deals in front of them to choose from, they will likely all include this clause, and the alternative is no deal and likely no album.

Now consider that 14p that the band just earned from your days binge listening. It may take years before the actual artist starts earning that 14p once all recoupment is complete; and when they do there are other issues!

The biggest issue being that the record company owns the rights to the music and therefore the band will only get on average 20% of that 14p. So 2.8p. This band happens to be a standard four-piece band and therefore that 2.8p needs to be split between the singer, guitarist, bassist and drummer. Oh and the producer.

Not to mention other possible deductions. It may shock you to know that under the terms of many contracts artists still have to pay a 10% deduction for breakages! That’s literal physically broken albums… even when digital!

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#BrokenRecord

Clearly these old contracts don’t fit with the digital age and it’s always going to be the artist that loses out. That is why Tom Gray founded the #Broken Record campaign to challenge these inequalities. It should be said that nobody is arguing that Mick Jagger needs another house or Paul McCartney another car.

This campaign is designed to fight for justice and equality for the acts of the future. Hopefully you have been surprised at how little your favourite artist earns from you listening to their music on streaming platforms. You’d probably be shocked to find out that many musicians that you follow are likely living very close to the breadline. Many artists you picture living lavish lifestyles are actually struggling to pay their rent this month.

This situation has only been intensified by the coronavirus pandemic.

Reliance on Live Music

Many artists these days rely heavily on the live side of the music industry. Playing gigs, tours and festivals is how most acts will now earn the majority of their money. This is a complete 180 switch from yesteryear. Before the digital revolution of the record industry, artists toured to raise awareness of their new albums. Nowadays artists release albums to raise awareness of their tours!

Then 2020 hit and removed that income stream, leaving many artists to survive solely on income from physical and digital sales. But whilst the vinyl renaissance may help a little, the fact is CD sales continue to fall off a cliff edge and many artists are left to survive on streaming alone. Therein lies the huge problem facing the music industry right now – how, when and perhaps if it will recover.

Even if we ignore the unfairness in the discussion around streaming revenue, what we have right now are artists and crew that can’t afford to live, to pay rent or perhaps buy food. Again I don’t envisage Elton John looking down the back of the sofa for spare change, we are talking about the emerging talent of the future, the acts of years gone by who have seen dwindling success and importantly those considering starting their careers. These are the individuals having to change course, take jobs in other sectors to pay the rent and support their families. These are the individuals that may never return to the music industry!

Even when the pandemic finally goes away and life can resume, we have the looming shadow of Brexit. Whilst that is another blog topic altogether, bands are going to struggle to afford to tour beyond the UK due to new restrictions and costs.

So, for the music industry we love and rely on to emerge from this pandemic intact we need to take action.

What needs to be done?

In reality there isn’t a lot the average music fan can do. We need action from the industry and likely that will need intervention from Government. Fans can of course support their favourite artists, buying music, merchandise and tickets. Fans can also sign relevant petitions and highlight the issue by supporting the #BrokenRecord campaign.

The changes being requested by artists aren’t necessarily ground breaking. What they are asking for in basic terms is just equal pay for equal work. To be treated with respect, decency and fairness; for their efforts and their art to be valued reasonably.

That shouldn’t be hard for fans to accept. Imagine a shop worker only being given 20% of their days wage, with their manager, supervisor and company all taking the rest. Imagine they are then further deducted the costs of their uniform and the equipment they use. That wouldn’t be fair would it?

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Possible Solutions

As already mentioned, a high level thorough review and restructure of artist’s payments from streaming is required. Options that may provide possible solutions include the likes of Equitable Remuneration (ER for short!) and User-Centric Models.

Part of this discussion will form around the question of how streaming of music should be classified. Is the music purchased, rented, or is it equitable to radio airplay? Artists currently are paid via ER for radio airplay and this method is split 50/50 and therefore can be fairly summarised as equal pay for equal work.

One of the most common ways to consume music from the likes of Spotify is to use Playlists such as our own ‘Hot List’. Spotify even label these as radio such as their Artist Radio functions. So would it be reasonable to class streams in the same category as radio airplay?

As we come to a close, I want you to once again go back to our earlier analogy. Having binged that new album whilst working from home, how would you like your money to be distributed. If this month that artist was the only artist you listened to, and you pay for your Spotify, who do you think your subscription money should go to?

At present it would be added to the overall pot and divided between all artists on the platform. Would you think it would be fairer if all your subscription money was divided just between the artists that you personally listened to this month, in our case just that one band? This would be the case if streaming platforms moved to a User-Centric Model.

There are many questions here and I won’t pretend to have all the answers. What is clear is that something needs to change and that change has never been more necessary. With the combined wreckage of the pandemic and Brexit upon us, artists can’t rely solely on the Live side of the music industry. The Record Industry must act now.

The light has been shone on this issue and all stakeholders must step up and take action to fix our #BrokenRecord Industry!

Be sure to help spread the word and raise awareness of the #BrokenRecord campaign. You can share this article by clicking the icons below!

The #BrokenRecord campaign is the creation of Tom Gray, be sure to follow Tom on Twitter for the latest updates on the campaign! When discussing the subject remember to use the hashtag #BrokenRecord.