Finding The Long Tail In Music

from the it's-out-there dept

In the past we've had an ongoing discussion with some folks on this site concerning whether or not it's now a better time to be a musician than before the internet became central to everything music-related. We've argued that today there are more options and more opportunities for bands than ever, and that's only a good thing. It doesn't mean that every band will be a success or can make a living. That's never going to be true (and has never been true, either). Many will still fail, but there are more tools and opportunities that if you learn to embrace them, you can absolutely do much better than you ever could under the old system -- which required massive backing to become successful. It was the golden lottery ticket story of musical stardom.

Last week, we wrote a post about an interview with Tommy Boy Entertainment boss, Tom Silverman, claiming that just 14 unsigned artists "broke the obscurity line," -- which was defined as sales of 10,000 albums. Amusingly, three days after this post, I met Silverman on an airplane over the Atlantic... and only realized it was him when he started talking to the guy seated next to me about my post not realizing who I was (small freaking world). We had a brief, but quite enjoyable conversation, and while I see his point, I'm still not convinced his conclusion is correct on the issue of breaking artists (his view of business models, however, seems right on). Meanwhile, in the comments to our post, Peter Wells from TuneCore disputed Tom's numbers. Since then, both have expanded on the discussion.

Tom provided more details on the number of totally independent success stories (decreasing the sum from 14 to 12 due to the fact that they had mischategorized 2 of the bands) over at the MusicianCoaching.com site. He then went on to claim that the long tail doesn't seem to be working for the music business:
Clearly the ease of making and distributing music does not benefit "breaking" music. Breaking music requires mass exposure which requires luck or money or both. I can say with great authority that less new music is breaking now in America than any other time in history. Technology has not helped more great music rise to the top, it has inhibited it. I know this is a bold statement but it is true.
Certainly bold words, though they did not address my original criticism with the point -- which is that number of albums sold is a poor measure of "obscurity" (or non-obscurity, as the case may be). As I said then: "You don't have to sell albums to become well known, and just because you're well known, it doesn't mean you sell albums. It's not the best proxy for figuring this stuff out." This week, at Midem, musician Hal Ritson of The Young Punx put it much more succinctly: "Sales are not how you measure success any more. You figure out how to get as many people as possible to hear your music, and then you figure out if you're profitable." Also, I still think it's wrong to only count totally independent artists in this list, because many artists signed to labels (both indie and majors) may use new technology to help breakout (with or without massive support from their labels).

Either way, even beyond that, it looks like Silverman's numbers may be suspect. Peter Wells Jeff Price (from Tunecore) followed up Peter Wells' comment on our site with a super detailed post about the problems with Silverman's numbers -- which rely on Nielsen SoundScan data, which Wells Price notes is massively incomplete. He quickly names multiple artists who sold hundreds of thousands of tracks, which aren't measured by SoundScan, and suggests the real issue isn't that new artists can't break, but that the measuring system doesn't take into account how they break these days.

I have to say that Wells' Price's post is quite convincing. It's incredibly well-detailed and provides multiple examples of clearly successful (and hardly obscure) artists that aren't counted by Silverman's method. I still think that the points raised by Silverman about new business models in his original interview were dead on (and even he made the point that sometimes it made sense to release albums totally for free and use other ways of getting money -- which under his own definition would have made them impossible to "break out."). But it seems like there's an awful lot of evidence that our original assertion is still true: there are plenty of artists that are, in fact, breaking out thanks to new technologies -- and many are able to do so without a label. Whether or not it's "harder" to break out today due to increased competition may be another issue, but I'm not yet convinced this is a real problem.

Filed Under: breaking artists, data, long tail, music, peter wells, sales, soundscan, success, tom silverman
Companies: nielsen, tommy boy entertainment, tunecore


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  1. identicon
    Lonnie E. Holder, 25 Jan 2010 @ 2:10pm

    Re: Re: Re:

    I have heard of Pandora, but never tried it. It gets back to the time thing. I can go to Amazon and look for, as an example, music by Pink Floyd or Porcupine Tree and buy something I do not have. I can listen to the radio and hear music I have never heard that I like so much that I go to YouTube or hear samples on Amazon, but to go to Pandora and start looking around, why?

    You don't look around Pandora. You put in the name of a band/song that you like and it starts playing similar stuff that it thinks you'll like too.

    Sounds like fun, if I had the time.

    The market should adapt to me, not me to the market, right?

    Pandora does adapt to you.

    Except, I have to go there, on my computer, correct? Seems hard to do in my car or at work, where I listen to music the most. I cannot access Pandora at work.

    Where is the "connect with customers" when I have to do something I would not normally do to find new music?

    I'm not sure what this means.

    I should be able to access new music through pathways I currently use versus having to do something different. Radio is incredibly convenient because I always listen to music while I am driving. Even satellite is somewhat convenient because I listen to Sirius on cable. Computer access to music is inconvenient.

    The radio was an easy way to find music. Listen to an FM station, hear a new group, buy their album. What is the substitute for this process that does not involve me going somewhere I would not normally go specifically for the purpose of finding music?

    Uh. Pandora is one of many, as it's just like radio, but customized, so I'm not sure what you mean here. You're saying "tell me where to go, but it can't be somewhere new" and then saying "how come there's nowhere new!!"

    I suppose I could have said that better. I access music via radio and television. I only access music via the internet when I have a specific target. I have little time to go look for new music on the internet. Let's make that no time to look for new music on the internet. So, with all the new technology that exists in the world today, where are the convenient options that permit me to listen to all this lovely new music on my radio. Even satellite would be a good option, but it seems like choices there are also somewhat limited.

    You are contradicting yourself.

    Let me rephrase:

    Artists need to figure out how to connect with fans by a variety of techniques. If you are thinking all your fans are going to go looking for you on the internet, you are sadly mistaken. The artist who will dominate the future will be the one who takes advantage of new technology as well as existing technology. As a simple example, I have not heard of many of the artists you listed in your post as those who have used the "new" business models. As for those I have previously heard, I am not a fan (e.g., Nine Inch Nails - yuck, Jill Sobule, interesting, but insufficiently interesting for me to get her CD's).

    That was the real value of radio, and even MTV and then VH1. You had it on in the background, and when you encountered something you wanted, you got it. With the internet, you MOVE from the place you want to be to a place you have to be if you want new music. Silly. Not a connection with customers.

    Huh? You don't have to move anywhere on Pandora. You go, put in the name of a band/song you like, and then leave it on in the background. If you encounter something you want, go get it.

    I mean, there are hundreds if not thousands of other places you can go for the same thing. Pandora, Last.FM, Slacker all do the same thing. Or you can (as others suggested) find a podcast you like and do the same thing.

    They're like radio. But better.


    I do not listen to music on the internet. I have a lovely stereo system that plays CD's, and plays them reasonably well. My CD's are portable to my car and my work computer, and when I tire of my collection, I listen to the radio. If I am away from my stereo, I turn on Sirius on cable, where I can sometimes, though rarely, find interesting new music.

    The internet is interesting, but it has yet to fit into my pocket and it is hardly cost effectively portable. Once I can get get internet radio on my car, I will likely change my mind, but until then, my sources of new music remain limited.

    What artists need to realize is that there are tens of millions of people just like me. Find a way to access us, and you have the opportunity to make a mint. By way of example, Feist was relatively obscure (in the Midwest, at least) until her song "1, 2, 3, 4" was used on a commercial, and her sales shot up by orders of magnitude (I bought two of her CD's) and she became quite successful. Smart use of one of her songs.

    I repeat: Access the people who do not look for music on the internet and the potential for sales will increase by orders of magnitude.

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