Uneven royalty systems, low payouts, and stagnant market structures – this is just the tip of the iceberg for independent artists looking to make their break in the music industry.
Shannon Smith is an award-winning singer-songwriter from Fremantle, Western Australia.
Over the years, he has refined his soulful blues and country style, sharing introspective moments and reflections through emotive music.
This May, Shannon is releasing his debut album, Out Of The Shadows, but not in the most conventional way.
His new approach is to “flip the script” on the way artists share their music, in hopes to break even without what feels like an endless battle.
Shannon has chosen to withhold his forthcoming album from Spotify and other streaming platforms.
“I’m trying to give some incentive for people to buy it, whether it be digital or physical, and try to give a little bit of FOMO,” he says.
“There has to be some content that people are going to see as valuable.”
Shannon has two extended tracks on his album which will never be released to any streaming platforms, to increase this perceived value by audiences.
From recording, mixing, mastering, artwork, production, PR, and distribution, Shannon says this album is the most expensive “marketing budget” he’s ever had.
To make the same as selling one $55 vinyl record, I’d need 13,750 streams – on just one song. Now multiply that across an entire album, and you see the problem.
Shannon Smith
“That cost is not something that I’ll recoup, but this is who I am and this is what I’m about.”
Streamers’ payment system favours major artists
The Pro-Rata payment system embedded in platforms that require subscriptions like Apple Music, Spotify, Amazon Music, and Pandora favour bigger artists.
The revenue from all subscriptions enters a big pool, divided based on the total amount of steams across the platform and paid out – even if a user predominantly listens to indie artists, money from their subscription would be largely distributed to artists like Drake, Billie Eilish, Taylor Swift… you get the gist.
While Spotify has curated playlists such as Discover Weekly and the Release Radar, their algorithms are stillhard to crack – platforms like Apple Music o?er even less opportunities for smaller acts to be discovered organically.
“It brings out the creative capability of each person as to how the hell they can get any traction,” says Shannon.
Radio still plays
Radio has always been an important platform for independent artists.
It doesn’t rely on algorithmic popularity and is based on curation by presenters and producers – real people.
Anika Luna is a community producer and presenter at triple j Unearthed.
Deeply passionate about the independent music scene in Australia, she strives for its discovery, support and promotion.
We see ourselves as sort of the middle person between industry and community
Anika Luna
Storytelling and radio goes hand-in-hand.
Presenters will often talk about the artist’s backstory and sound, maybe even getting them on for an interview or playing a live session.
“We do a lot of housing of Australian music on our platforms, feature artists, spotlight artists, we drop reviews and feedback for artists,” says Anika.
“We are constantly pushing out artists on our socials, Instagram, TikTok, those sorts of things.”
Radio is a far more accessible route into the industry compared to chasing the algorithms of major streaming platforms.
“A lot of that two-way communication, we try to be in contact with artists to make sure their music is being heard.”
Commercial radio can provide mass exposure for emerging artists.
But similarly to streaming platforms, their genre selection is restricted, with limited playlist rotations and a common preference to play international acts.
Both Anika and Shannon highlight the impact that institutional support could have for grassroots music.
“If big powers place importance on grassroots causes, mainstream audiences are more likely to be engaged with it,” Anika says.
Shannon agrees with this sentiment.
“If the Australian government is able to implement things like a certain percentage of new Australian content on licensed FM radio stations […] or tax benefits to venues that set up or provide opportunities for live original artists where they’re getting paid at an industry rate.”
As the industry continues to evolve, will emerging artists be forever navigating the way their music is heard?
Will popularity continue to trump originality?
Will it ever be easier for artists to break even?
