Artists and fans live in two different worlds. That’s the common belief. When you think of artists you immediately picture big stars, which it seems like make their millions without a struggle, fly out from one party to another and in between, every now and then, have concert tours around the world. The reality is different for many artists. Many of them barely finance themselves and their families with an ordinary job and usually finance even their music with it. At least they can make a living out of music. It’s the world of crickets, that Sascha Lobo described in an article based on the old Aesop’s fable about the ant and the grasshopper, as a reaction to Sven Regener’s lament about copyrighting.
Lobo criticizes the widely spread scornfulness towards (unsuccessful) artists and the general low opinion about art. This doesn’t only explain the stolen copies and copyright infringements, but also why many artists can’t make a living out of their music. And this is where the ants come to play. They work diligently and dream of a better, worry free life, in their opinion the kind of lives that artists have. And they don’t want to pay a dime for music and give, at best, only charities.
Similar to every cliché, there is a tiny part of truth in how others imagine the world. But the other part, the big part, is made out of ignorance and isn’t really thoroughly thought out. However, at that time, a constructive dialogue on copyrighting and the value of art, didn’t take place at all.
Yet, when I separate the “financing of music or musicians” issue out of the, at that time, heated debate, the opportunities of crowdfunding immediately come to mind. With it, I can scatter the artists’ worries of having to ask their fans for money (or charity). Fans will gladly support you, if they believe in you. I want to tell a short story on the subject:
It had to be around the end of 2009 when I, at Sellaband, stumbled upon a singer/songwriter whose music immediately blew me away. Alex Highton was then new in crowdfunding; I on the other hand had initiated the 50K MUSIC MAG at the beginning of 2009 and therefore asked him If I can present him there. Certainly, I also helped finance his album project. The interview was published, I eventually also received my rewards – up to this point, everything according to the normal crowdfunding process. Then “it” happened, which gave crowdfunding a larger meaning: we stayed in touch. We wrote each other emails, we met in Birmingham and Leipzig, he sent me small Christmas presents, I returned the favor with small gifts for his girls… in 2011, I and a fan, partially financed Alex’s trip to SXSW.
In 2013, he started the crowdfunding for his new album “Nobody Knows Anything” on Pledgemusic. And I was there. Some of his fans too, which I recognized from the Sellaband project.
What I want to say with all of this? Crowdfunding can be a first step towards developing a relationship with fans and questioning clichés. Yet, the crowdfunding platform and the crowdfunding itself are just additional tools. The key success factor is the artist himself. You are the person that communicates with the fans, laughs, cries, tells them stories (your stories) and ultimately asks them for money. However, it should always be an individual way of asking. If someone simply copies Amanda Palmer’s “The Art of Asking”, it won’t work. You have to understand the principle behind it and of course, your fans. And, you should offer your fans various channels, where they can collect information about you and communicate with you.
Your crowdfunding project will still always be just one part of your relationship with your fans. Take the chance to build a sustainable, intensive and lasting friendship with them – connect yourself with them … online, but also in the real world. That’s where you’ll find the true value of crowdfunding.