This post is proof that assumptions are so often wrong! Going back 10+ years ago, I was a teen who revelled your music and live performances on Youtube, and all I could think was how PERFECT it was to get fame and recognition so young. Of course, fame was a childish thing to strive for. As a performer myself, one year ago I assumed that getting tied to a label would fix all my struggles for musical attention. My sound engineer gave me some helpful advice that changed my mind (i.e., screw streaming for now and sell your music to people that care) giving me a more economic point of view. I love your post because it gives the realistic perspective.
I am so looking forward to your album! Everything you create is a gift. Ownership of everything you create from here on out gives you more power to continue your art.
This is quite insightful. Of course I’ve long known that the life of a working musician is just that - work: travel, performing even when under the weather, dealing with one’s own and others’ expectations that creativity is a faucet one can turn on. Add the crassness of commerce and it’s a wonder musicians function as well as they do. You seem to have nurtured your own curiosity to great effect, in spite of it all.
Since I starting reading your substack I was hoping that you'd dive into this topic haha. Thank you for sharing!! Breaking up with my manager was so traumatic but it's less isolating to hear how common this type of thing is. Especially from artists who are the GOAT's. Glad you've found someone who is right for you.
How I create music is sadly influenced by money. My next EP will probably go back to being just guitar and voice. I like acoustic music so it’s not the only reason but it does influence the choices I make when considering arrangements. I am on a low income, sometimes I think about giving up. For instance my favourite gig I played this year I didn’t get paid for, playing an original set to 30 people. The gig I was paid the most for, I had to water down half my set with covers and came away unsatisfied
As regard CD v Streaming. A recent song of mine has around 3,500 plays on Spotify, it will earn me about £12. A decade ago I would sell CDs at gigs that could fund the next recording. No matter how hard I try I can’t escape the fact that to be creative I need to be able to acquire resources in a capitalist system.
It’s heartbreaking to read how little you earned from your first five albums, while people who contributed nothing creatively continue to profit from them. A familiar story from the music industry, where talent is exploited by those whose only interests are pecuniary.
I first discovered your music watching the 2008 Mercury Music Awards (my [poor] memory was telling me it was the same year as Lisa Hannigan’s, also wonderful, Sea Sew.. but Google tells me that was 2009).
Anyway, I’ve enjoyed each of your releases since, with your talent for songwriting (and evidently, writing) continuing to soar. In particular, Semper Femina and Song For Our Daughter are (to my ear) sublime.
Thank you.
I eagerly await more of Patterns in Repeat and feel very fortunate to be seeing you perform next in Hackney.
This post is proof that assumptions are so often wrong! Going back 10+ years ago, I was a teen who revelled your music and live performances on Youtube, and all I could think was how PERFECT it was to get fame and recognition so young. Of course, fame was a childish thing to strive for. As a performer myself, one year ago I assumed that getting tied to a label would fix all my struggles for musical attention. My sound engineer gave me some helpful advice that changed my mind (i.e., screw streaming for now and sell your music to people that care) giving me a more economic point of view. I love your post because it gives the realistic perspective.
I am so looking forward to your album! Everything you create is a gift. Ownership of everything you create from here on out gives you more power to continue your art.
Cheers,
Lexi Long
This is quite insightful. Of course I’ve long known that the life of a working musician is just that - work: travel, performing even when under the weather, dealing with one’s own and others’ expectations that creativity is a faucet one can turn on. Add the crassness of commerce and it’s a wonder musicians function as well as they do. You seem to have nurtured your own curiosity to great effect, in spite of it all.
Since I starting reading your substack I was hoping that you'd dive into this topic haha. Thank you for sharing!! Breaking up with my manager was so traumatic but it's less isolating to hear how common this type of thing is. Especially from artists who are the GOAT's. Glad you've found someone who is right for you.
Started**
How I create music is sadly influenced by money. My next EP will probably go back to being just guitar and voice. I like acoustic music so it’s not the only reason but it does influence the choices I make when considering arrangements. I am on a low income, sometimes I think about giving up. For instance my favourite gig I played this year I didn’t get paid for, playing an original set to 30 people. The gig I was paid the most for, I had to water down half my set with covers and came away unsatisfied
As regard CD v Streaming. A recent song of mine has around 3,500 plays on Spotify, it will earn me about £12. A decade ago I would sell CDs at gigs that could fund the next recording. No matter how hard I try I can’t escape the fact that to be creative I need to be able to acquire resources in a capitalist system.
It’s heartbreaking to read how little you earned from your first five albums, while people who contributed nothing creatively continue to profit from them. A familiar story from the music industry, where talent is exploited by those whose only interests are pecuniary.
I’m so glad you’ve decided to create a Substack. I’m enjoying your posts so much. Take care :)
I first discovered your music watching the 2008 Mercury Music Awards (my [poor] memory was telling me it was the same year as Lisa Hannigan’s, also wonderful, Sea Sew.. but Google tells me that was 2009).
Anyway, I’ve enjoyed each of your releases since, with your talent for songwriting (and evidently, writing) continuing to soar. In particular, Semper Femina and Song For Our Daughter are (to my ear) sublime.
Thank you.
I eagerly await more of Patterns in Repeat and feel very fortunate to be seeing you perform next in Hackney.
Very insightful. Thanks for sharing!
Thanks so much for delving into this topic. ❤️