The Economics of DistroKid

The founder of DistroKid has written a blog about the service and the growth they’ve seen in the past four years. DistroKid is a new kind of music distributor:

That means we help musicians & record labels get their music into online stores & streaming services (iTunes, Spotify, Pandora, Google Play, Amazon, and more).

Then we collect the royalties and pay out. Payments go either to the artist, or to any group of collaborators that the artist specifies, in any percentage.

This paragraph really stuck out to me:

You’re a dummy if you give any percentage of your earnings to a distributor. For goodness sakes. If you don’t use DistroKid, that’s okay — but please don’t give a cut of your earnings to any distributor unless they’re also massively promoting you and helping with marketing; the only way they’d deserve it. If we took 9% of earnings (we take nothing) there are a handful of artists who’d owe us more than $100,000 each for moving a few files around. That ain’t right.

The whole thing is definitely worth a read.

Favorite Bands (Encore Episode 143)

Encore 143

On this week’s episode of Encore I am once again joined by special guest Craig Manning. We talk about who our favorite bands are, what makes them our favorites, how that’s changed over the years and what it means to be a “favorite.” We also discuss what artists have the best chance of jumping into that list in the future. Then there’s some Grammy talk, and a look at Andrew McMahon and his career, all of his different projects, and his new album. There may be some album ranking.


Sorority Noise’s Cameron Boucher on Grief, Religion, and His Band’s New Album

Cameron Boucher of Sorority Noise sat down with Stereogum:

Sometimes you get the feeling that people in bands are just pandering to certain crowds — If I say this, then people will react — but it’s truly not like that for me. Everything I’m saying and playing is as real as I can be, and I feel like that’s hard to convey. Someone could tell me that a song I wrote sucked, and that’s fine with me — most music is not for most people — but when someone specifically takes a lyric and makes fun of it or makes light of it… That’s incredibly personal for me. That’s hard for me, because it took a lot out of me. So I think the big thing is that I just don’t really pay attention to what people may or may not think, because I write at such a high volume that there’s no buffer for that. Boom, there I am. That’s kind of how it goes.