Earlier this month legendary producer T Bone Burnett was featured in American Songwriter, one of the more respected music industry publications at our disposal. He apparently created a little riff with some folks when he talked about young musicians he referred to as Milk Carton Kids, saying this:
“Self-promotion is a horrible thing. As soon as an artist self promotes he ceases to become an artist, he becomes a salesman.”
He was talking about the idea that to be an artist, musicians must be at all costs, creators. Yet the indie movement under the “DIY model” has created a generation — a huge one — of self-promoters who’ve embraced the idea they ultimately know everything there is to know about becoming successful in a business that has increased eleven fold in 13 years.
This on good authority from a Music Row label exec during a November, 2013 meeting: In 1999 there were roughly 10,000 new albums distributed commercially. In 2012 that number increased to 110,000! When I find the actual documentation, this post will be updated pronto, but I’m fairly confident this is accurate. It’s the executive’s job to know these things.
So the DIY musician has 110,000 times the work to do on his own to build global name recognition without a staff of record label professionals, just to get brand awareness established.
This, plus writing the songs, booking and performing at gigs whether they are local or require travel. Arrange and hold interviews, oversee production in and out of the studio dealing with everything from making a recording itself to some involvement in mixing and mastering, arranging and getting ready for photo shoots, artist development, writing professional copy, to overseeing art direction for album covers, digital graphics, and posters. And the list goes on and on. It’s a huge process just to put out one CD or even EP.
Some musicians handle it effectively enough. Others not so much. The latter category typically has the most musical talent.
Most outsource at least some of the work, done at a ridiculously reduced rate causing a product that requires 100% effective marketability to be less than perfect in just about every way due to cutting too many corners. Historically musicians have never had enough start-up capital to get through the process, hence the existence of the record label system.
The net result is usually a motley crew of mismatched experience, out to prove themselves in an over saturated market with an inferior product, making much less than minimum wage whether it’s their main source of income or not.
Indies struggle intensely through the process, sometimes insanely, micro managing every step instead of allowing those they hire to do their jobs. It’s really very sad to witness. Ask any photographer, graphic designer, web designer, manager, publicist, radio promoter, or booking agent worth their salt their opinion on being micro managed by the DIY artist, and get ready for a ride to hell and back. Then multiply that by 110,000.
The professionals exist to create the best possible outcome for the raw material they’ve been given to work with. Most of the time that information is inferior from the start. Ninety nine percent of the raw material can benefit greatly from at least one professional on board to help the musician see where flaws and errors can be avoided. To be fair, from the list of pros above, “the team players,” all have their specialties, and can provide a wealth of knowledge to musicians. Yet in most situations they never get the opportunity because the DIYer insists he can control the mayhem. After all he created it, and he’s footing the bill, therefore, he has the last word. This is not an entrepreneurial spirit hell bent on winning.
The indie profile has turned the musician into a manic manager of tasks he’s not equipped to handle, one who then has the arduous job of selling an inferior product. He is then swimming, if not drowning, in that overcrowded pool with 109,999 others attempting to achieve the exact outcome, quite often to the exact demographic base.
And everyone wonders why CD sales are down.
At any given time roughly 100,000 inferior products flood the music market, with substandard packaging, marketing and promotion. The internet has subsequently displaced sound quality, distribution, and more importantly, the audience who buys the product.
Only 40% of visitors to iTunes make a purchase. When there are too many choices, the consumer generally makes no choice at all — which by some standards is the best decision.
To those who are critical of T Bone’s remarks on self-promotion, I hope this clears things up. There is a world of difference between being a musician and being an artist. Burnett leans heavily on the arm of art, while everyone else is lost in a daze and the confusion.