This still feels a bit pregame but I’m starting to get a sense of the new direction I’m going to take with Crowdfunding For Musicians.
I considered adding press releases as a way to expand my efforts but I’m realizing that if it’s not worth a blog post but is worth sharing I can include it in a news roundup.
Over the weekend I thought through a few things that I think are either true or work well enough as contingent operating principles:
Kickstarter-style campaigns have become synonymous with the term “crowdfunding” in the mind of the public that’s heard of crowdfunding, at least in the States.
Patreon‘s patronage/subscription model can also be considered a form of crowdfunding, as can other services and platforms, especially when taking into account the overarching concept of crowdsourcing.
Crowdfunding campaigns are usually only part of what one needs to complete a project, as PledgeMusic demonstrates so clearly, and a full album campaign, for example, will also require such elements as a presale after funding is reached to maximize revenue.
Direct-to-fan is a core component of music crowdfunding that also makes it part of a whole realm of tools, services and platforms from ecommerce direct sales tools to individualized white label music streaming subscriptions to mobile apps for managing and selling merch.
So I’ll talk about all that stuff (with outside news sources and interviews) and how it all connects to provide a complex range of direct-to-fan funding and revenue options for contemporary DIY and indie musicians. As much as possible I’ll stick to practical examples and details rather than editorial flights of fancy.
Thumbnail image: “the audience is shaking” courtesy Martin Fisch.