Songkick Detour And The Middle Class Musician

 Songkick today announced the official launch of Detour, which it has been successfully trialing in a small invite-only beta until now.  At risk of over simplifying, the basic concept of Detour is enabling fans to help artists decide where to gig by pledging in advance for concert tickets, much in the same way PledgeMusic works but for live. In the trial 1,000 fans made 10 concerts happen in London (you can read Songkick’s Ian Hogarth’s blog here).

I am a big fan of Songkick and the company is one of a relatively small number of digital music start ups that are genuinely changing some of the fundamentals of the music industry.  With Detour, Songkick is harnessing the power of its highly engaged music fan audience and using it to deliver real value back into the business. 

Obviously it is still early days and Detour is still currently focused on London, but crowd funding of concerts is an area with growing momentum with specialist sites like Gigfunder and Queremos! all growing this emerging marketplace.  Crowd funding concerts is a very natural next step from crowd funding albums and EPs.  For middle ranking artists who aren’t big enough to be on a big label but are bigger than the amateur and semi-pro tiers of artists, tools like Songkick Detour and PledgeMusic are increasingly important.  They empower artists to build sustainable careers, making the most of scarce resources and squeezing out every last drop of their potential.

But perhaps most importantly of all these tools strengthen the bond between fans and artists.  Something that is inherently less easy for a superstar artist to do.  Sure the likes of Lady Gaga do a fantastic job of making their global fan bases feel close, but that proximity can never be as genuine as a band whose just come to London to play a gig off the back of 80 dedicated fans pledging their support and hard earned cash. So the long-term outlook becomes one of increasing divergence between the aristocracy of the superstar artists and the middle class of hard working, hard gigging artists.  Think of it as a democratization of music, with the intimacy of the artist-fan relationship the currency of success and authenticity.

Detour has got a long way to go, but that is only because it has so much potential.  Now the fun really starts.

Advertisements

PledgeMusic, Janet Devlin and Reinventing Scarcity in the Post-Scarcity Age

The analogue-era music business traded on scarcity.  It was the record labels and retailers’ absolute control of supply that created scarcity of music product.  If you wanted a high quality version of a song or album you had to buy it, when, where and for how much the labels and retailers decided.  In June 1999 Shawn Fanning launched Napster and in an instant scarcity was not only thrown out of the window, the window was instantaneously bricked up behind it.  The contagion of free has now reached epidemic proportions (due to both licensed and unlicensed sources).  Consequently we are now in the post-scarcity age, which has made music buying a lifestyle choice.  It has changed music buying from opt-out to opt-in.

If there is to be a mainstream future for music products, it will come from creating new scarcity that people want to pay for.  Of course it is no longer possible to ensure the music itself remains scarce, but it is possible to build scarce experiences around music and additional assets.  This is exactly what the guys at PledgeMusic have done in conjunction with former X Factor contestant Janet Devlin.

I’ve been a long term admirer of PledgeMusic’s model and approach, but I am particularly impressed with this release.  Firstly, fans get the option to select music from a typical Pledge menu of products ranging from the standard CD, through to highly personalized products like a Skype chat with the artist, a personally dedicated video performance and even appearing on the album.  Though the unit prices go high (£500 to appear on the album) these are scarce experiences that simply cannot be got on a torrent.  Of course many of these options don’t scale too well, but some of the intermediate products like exclusive concerts and signed albums most certainly do.  Also, all pledgers also get the download of the album before it is released anywhere else, a semi-scarce commodity, but nonetheless a great way to communicate value and exclusivity to fans.

What I like most about this release though, is the clever use of the pre-release cycle as an artist subscription. Anyone who pledges will get a steady stream of content from Devlin as she progresses on her work with the album.  She will release exclusive (i.e. scarce) content such as video, audio and photo blogs to these pledgers, giving them a window into the creative process, deepening their engagement with her and most importantly, building up interest and demand for the release of the album.  In many respects Devlin is taking a leaf out of the X Factor’s book, recognizing the immeasurable value of creating a community of fans and building their interest and engagement with exclusive content right up to a final release.

One of the reasons I like this release so much is of course because it ticks so many of the boxes of my Music Format Bill of Rights report (which you can download for free here).  But make no mistake, creating scarce experiences and seeding fan communities with scarce content is going to be at the centre of future music products.  Not everything here is entirely new or unique of course, but the unifying vision is most certainly that of the future. Janet Devlin and PledgeMusic are assuming the role of pioneers here and their peers will do well to pay heed.