While it may be easier these days for independent musicians to get their music heard and distributed, making a comfy living at it is still a challenge. The most obvious avenues for income are touring, CD and merchandise sales, and music placement/licensing. But there's a lot of flux in the industry, and the models are changing.
Recently I started musing about how past musicians supported their work, and I got to thinking about the patronage model from days of yore. A lucky composer could gain the support of royalty or the church; the musician could focus on their music and the patron would gain credit and respect for their contribution to the arts. This system has mostly died out, but there are a few modern variations on the theme:
"My standard line is you guys will play a hundred million gigs before you see this amount of money," Hysen said. "Usually they come back with, 'We'll do anything BUT Hummer.'"
This is a time-tested and acceptable practice in the classical world, but implementing it with a rock band would require a lot of tact. It's much easier to see what the expenses are with an orchestra - there's dozens of players, and a huge hall to rent! Classical audiences also have different expectations attending a concert; they may know the music already and are appreciative that someone is there to perform it. If they don't like the music but do like the performance, they may still return on another night.
Rock audiences are a harder sell. They might not know your band, and your immediate challenge is to win them over. If you then suggest that they pay something in addition to their ticket or CD price, you risk offending them - haven't they already shown their support?
There are indie musicians trying this model in various ways, offering things in exchange for donations, such as printing fans' names in the CD liner or offering access to exclusive material. It'll be interesting to see what works, but it probably won't be a band's primary source of income any time soon.
How about some other ideas? There's the story of Marissa Marchant, a singer/songwriter who tried to charge $1,000 for her CD and was laughed off the internet:
People don't want musicians to think highly of themselves, but plumbers are allowed to get 500 dollars for changing a pipe for an hour.
Visual artists may also be able to set their prices, but they still have to be established in the marketplace before they can consider asking a cool grand for their artwork. And even so, music is so easily reproduced that it's more akin to selling a print than selling a painting.
How could she have handled this differently? Perhaps arranging for someone to sponsor her before she made the CD would have seemed more appropriate to the masses - which brings us back to the patronage idea.
Would most modern rock musicians even accept an individual's patronage? There's pride in that word, "independent". And there's also a tradeoff between being poor and being beholden to another. What if your "patron" wants to directly influence your music? Surely that's no worse than a label saying "we need a hit single" - uncomfortable, but something you have to deal with until you're successful enough to call the shots.
Kirsten Starcher lives in Vancouver, BC, spending half her time as a musician, playing bass in ARCTIC as well as solo, and the other half as a web designer/developer.
You can contact her at "kirsten at crowstoburnaby dot com" (turn it into a proper email address, of course!).