The Blurred Mindset Of The Working-Free Indie Artist

Music is an art, and a quality art is worth all the investment—to get the necessary exposure and create a market for the art, and to reap financially from that market as compensation for the investment and quality put into the art. That is exactly what music demands.

But it’s shocking that in this 21st century where the craze and love for music are on its highest levels, some myopic musicians in their shallow perceptions see things differently from a microscopic point of view—the idea of working for free just for the exposure.

So they get hit up most of the time to play at events all for free because they believe that the “exposure” they get from such events will be good for them in the long run. Such is the fantasy dream of the 21st-century indie music artist.

But by the time they figure out that it’s a waste of time, it’s already too late to cry because time waits for no man.

Good music is a great mix of hard work, unique creativity, and display of pure talent. The time you spent sacrificing all of that to work for free for the (sometimes empty) promise of exposure instead of money will come back to haunt you. People who love freebies will always look for it and go for it wherever they can get it. You are not the only independent artist working for the exposure, in a music industry where the competition for attention and recognition is higher than ever.

So by the time you start charging for your music, the majority of those agencies, companies, or groups who gladly used you for free would have moved on to other indie artists who are also working for free for the exposure. Then you would realize that you have not only undervalued your art but also effectively wasted your time and effort seeking an exposure that was never there to begin with.

In the world of music, value is of the essence. If no value is attached to your creative genius, people will not be willing to go for it no matter the exposure you get. Quality is not the only yardstick of defining value; price is another major element—the vehicle that drives value. Sell free, and the typical human mind will think you are not serious; offer cheap, and people would attach less value to your work, even if it is great. But try selling on a reasonably higher price and see your work bombarded with high value, even if patronage starts on a low key. Such is the psychology of the human perceptive judgment when it comes to value and patronage.

Exposure Is Good, But Worthless Without The Right Doses

While making money from music isn’t a simple task for a beginner or an indie artist, sacrificing the worth and benefit of your art on the altar of exposure is even worse.

Most nonprofessional artists who are making their own music, in a band or DJ-ing are quick to succumb to a radio host, a promoter, or a collective who approaches them about creating or playing for them without a compensating budget for the artists, all in the name of exposure. But what you don’t know is that exposure is virtually worthless today unless you can get it in a hundred million plus doses. Ask any professional artist today what is the biggest challenge confronting him or her, and the answer will be: piracy!

From 1999-2012, piracy slashed music sales by more than 50% and still counting to date. Nothing else compares to that. But none of those folks preaching exposure to you will tell you that. Although there has been an improvement in record sales since 2012, piracy remains a global issue especially in the developing continents, and places like China. So whatever opportunity comes your way to make some bread (no matter how small) from your music, never pass it by for exposure.

Here is the catch: there are many indie musicians and plenty of bands making a nice living from their music without getting exposed to millions and millions of fans. They may not have mansions, driving Ferraris, cruising on super yachts and flying private jets; but they are happily living off their music because they demanded money instead of exposure. When your music is good, and you have a value attached to it, that music will sell itself and increase your exposure levels gradually. You don’t have to work for free to get exposure. Remember you don’t have all the time. Each day that passes draws you closer to your peak, and the time would come when you will no longer be this vibrant and sharp to deliver top quality art as you do now.

So if you have been working for free, now is the time to change from that blurred mindset and start demanding money instead of exposure. Besides, there are other reasons why you should start demanding money from anyone that contact you for your music.

What Venues Think They Are Paying For

Have you considered the factors that underline contracting a musician to perform at a venue? Performing a show at music venues goes beyond hiring someone to perform some music. But before we get to that, let’s get something straight here. Most venues that offer low guarantees or door deals have no built-in crowd. That means the only concrete reason people walk through the door is primarily to see a band. Now hear this: when the end of the night proceedings comes to a close, and the money available is not enough to compensate everyone, the bands or indie artists are last in the bread line. The utilities get paid, the staff gets paid, the bank gets paid, the taxes get paid, the alcohol/food vendors get paid, and the building’s owner gets paid, as well as other utilities. These are actually what venues think they are paying for. No one is arguing that these guys don’t deserve to be paid what they do. But when you commit yourself to such businesses without a reasonable and compensation budget in the name of exposure, the fruits of your creative excellence are being converted to pay other people, and that includes the generally wealthy folks (banks) who loaned the business (the hirer) money and those (real estate owners) who own the building (venue). But for the music that you painstakingly create and perform, none of that money flows into the business nor your pocket, especially when it comes to paying the overheads (think of Spotify and others as examples).

Considering that real estate owners and commercial banks are profiting greatly from your work, now it’s the time to think critically about whether you are getting or not getting something tangible and reasonable out of this lopsided arrangement. Don’t you think now it’s time to start demanding money for your music?

What Venues Are Actually Paying For

Now, apart from someone to perform some music at venues, here is what you need to know regarding the costs and investment you put in as a reason to demand money instead of exposure;

• Equipment and instruments
• Hours of rehearsal time
• Rehearsal space
• Studio time
• Transportation to and from the venue
• The amount of money spent on lessons and training to become the musician that they are
• Branding and marketing
• Website
• Social media promotion
• Traditional marketing (flyers, posters, etc.)
• The percentage that goes to income taxes
• Phone and internet bills spent on organizing the performance and its rehearsals
• Any manager, agent, or other booking fees
• Insurance
• The payment that covers food, housing, bills, and all other living expenses
• Etc.

From the above, you can see why you need to demand money. Indie artists need to get money to cover the ever-increasing cost of their quality presentations. Why waste crucial hours of your creative talents just to put money into the bank account of someone else in the name of exposure?

Still, Think “Exposure” And Experience Is A Fair Price?

Artists have to make a living too, and they need to be paid to continue to make a living. Go ahead and ask a plumber, carpenter, hairdresser, doctor, dentist, optician, electrician, chef, or mechanic to work for free and see how that works out.

So if you are still thinking about exposure and garnering experience as the most important price for working for free, know that exposure won’t do you any good, especially if your music is in a less popular genre. For instance, a million streams are huge for an indie jazz artist, but none of it would buy him/her new business, or finance his/her next album.

Musicians are just like any other skilled laborer rendering service, and they should be compensated for such services. If you are paying the dishwasher, pay the performer.

While it is true that most indie artists don’t generate enough money to cover the increasing cost of their performance, the most of which is shouldered by the venues, that doesn’t mean musicians should work for free for the sake of exposure. Low paying gigs, at least, are far better than no paying gigs.

Even if you are to work for free for exposure, it shouldn’t be a habit but something that you can do once in a while.

Assuming you are demanding money for your music and patronage is low, it doesn’t mean you should stop or take to working for free. Many indie artists are doing odd jobs to pay the bills when their music doesn’t foot the bills.

There are many ways you can start making money as an indie artist. Apart from selling your music via CD-Rs and CDs, you can also sell merchandise, play live gigs, create a website where you can showcase and sell your music CDs. Get your music on YouTube and make money from it when people play your songs. Stream your songs on music streaming services and earn royalties, write and compose songs for others, or teach music and instrumentals, and more.

There is a lot you can do to earn money from your music, and the good thing is that these ways can get you exposure as well. It’s a win-win solution for you and your music career.