About no longer needing to tour and MIDEM on China

I finally bought “The Long Tail” by Christ Anderson -it was on something like a 80% discount which probably indicates that I’ve missed the boat by a few years, but it seems to be a good read as I’m just getting into it. Most blog writers regarding music and the future of music have not only read it but all the counter arguments by now as well. Anyhow…

But it’s interesting some of the things I’ve been coming across in blogland. One writer claims that in contrast to the trend of today’s musicians who tour and build a fan-base, in the future they won’t need to tour, just package their digital content and sell it well.

That’s good news for me because I’m not a touring muso.. but isn’t touring essential for musical and performance development?  And I’m a bit skeptical about some of these predictions -from what I observe the music industry varies according to genre, place and size of fanbase… How can you issue blanket statements about what the future musicians will be doing to make a living?

Not only that, it depends on what revenue streams an artist may be lucky enough to tap into -they could do a soundtrack for a movie, or they could get a residency for a venue, or their songs could be covered by an international act, or they could do ad jingles, or their main income could be live performance.

On to China and beyong

 -I came across an excellent article about digital sales of music in Asia (especially China, Philippines, Vietnam etc) and it looks back on the past decade at how the Asian consumer has really lost out.

The article is titled “Asia’s Neglected Music Consumers”. (MIDEM 2010 speaker Mathew Daniel, vice president of R2G and Wawawa). It gives 7 indepth considerations for those hoping to license music in Asia. Well worth a read.



%d bloggers like this: