As a new decade swiftly approaches, most understand why distributing music on a street corner screaming “yo you like hip-hop” could be considered laughable. But I mean is begging “fans” to hit that soundcloud link to stream your music all that different? There’s definitely something to be said about the decline in the transactional value of music in the streaming era. Yes, the barrier of entry in music is as low as it’s ever been. And yes the music is readily accessible via numerous digital streaming platforms; Apple, Spotify, Tidal, Google Play, YouTube etc just to name a few. But the question is, is the artist really eating though? (Insert chin stroking emoji).

According to reports on Digital Music News, Tidal remains number one in the DSP standings in terms of payouts, with a whopping $0.0125 per stream. On average it takes 117,760 total streams for an artist to earn $1,472. Thanks again Hov. Apple comes in third at $0.00735 per stream which would require artists on Apple Music to aggregate around 200,272 plays to earn the US monthly minimum wage. And despite Spotify increasing their payouts it still takes about 336,842 total plays which is $0.00437 per play to earn the same as the other two. Now of course there are some success stories out there. Atlanta based rapper Russ certainly reaped the spoils after “What They Want” found placement on Spotify’s notable Rap Caviar playlist. But for every one outlier there are plenty of artists struggling to breakthrough. 

What does it all mean? The streams ain’t doing it sis. Waves don’t die but streams certainly do. And I get it. From the vantage point of the consumer, one may feel like they’re supporting their people by running up the streams. But from my experience in working with artists, that 30 seconds of airtime doesn’t quite equate to the work they put in throughout the recording process.

In reality if a consumer would like to earn the status of loyal supporter they’d just purchase the record. Now artists that of course would require the establishing of a direct to consumer channel where one’s music is available for purchase; which is relatively easy to execute in terms of mechanics. What isn’t easy is creating the value outside of the music that equates to people actually caring to click that link in bio. Who are you? Where are you from? Are you fulfilling a want or need within the marketplace? People pay 9.99 and get access to pretty much any record the heart desires. So artists, this is where a team, staff or network of others comes into play to act as a support system. It requires innovative strategy to penetrate the market in organic fashion with the goal of maximizing revenue.

A shining example of marketing savvy was the “Proud 2 Pay”  campaign established by the legendary Nipsey Hussle ahead of the release of acclaimed mixtape “Crenshaw”.  Back in 2013 Nip announced that the heavily anticipated body of work would not only be available digitally for free download but physical copies would also be sold at select retailers for $100. This was Hussle’s act of disruption within the music industry. The Crenshaw born rapper deemed “Proud 2 Pay” initiative as a means for consumers to pay artists directly for their work and smite the archaic record label system for their exploitative ways.  The lesson is still brilliant and applicable today because there is an even more significant demand for music. The creator works in unison with the consumer in qualifying the value of art.

And in today’s climate even some of the biggest names in music look to bundle their music with tour tickets, merchandise, and consumer catered experiences. Your brand means everything.  These particular extensions of an artist’s brand assets convert everyday listeners into family. This is what we look to offer here at WBC; membership to a creative network that assists independent artists with developing their brand community. Join the pack to learn more!

Ishmael Dozier, Founder of Wolves By Circumstance, NY

Follow him on IG @creativecoz and @wbcny.