Musicians are a big market.
Not so long ago, Spotify made public the number of "creators" on its platform for the first time - at the end of last year, there were 11 million. Yes, a certain number of them are podcasters, but most are musicians.
Spotify's CEO hopes that "one day that number will grow to 50 million people." So, the potential market is even bigger than they've already managed to reach.
Why do musicians need a professional community? To brag to each other about their successes? Not only that - it's an opportunity to ride the current trend.
Good music is a collective creation. Developing a melody and lyrics is needed to produce a quality result. It would help if you gathered musicians to play it all with a complete set of instruments and the right quality.
In the past, musical groups appeared according to the geographical principle - guys from one school or university course got together. Whoever we managed to gather, we played that way.
Now the situation has changed. The key drivers of change are:
- The Internet.
- The growth of computer performance.
- The availability of music mixing and processing software (GarageBand, for example, is included with standard Mac software).
It's not uncommon for music and lyrics writers to find musicians on the Internet, have each of them play their parts, and then have the leader mix the individual tracks himself or give them to a particular studio for mixing.
Whether these musicians make up a permanent band (of people who have never met each other in person) or the leader gathers different musicians each time to record a new track or a new album, it doesn't matter.
Notably, the development of personal computer technology and the Internet can provide greater freedom and higher quality to any musician who wishes to do so, without having to be tied down to "random" fellow travelers found at their school or on their course.
The principle here is the same as the remote working trend. Companies can now hire the best, not just those who live within transportation distance of their office. People can work for the companies they want to work for, not just those whose offices they can personally commute to every day.
Another critical point is that the principal money musicians earn is not from music releases (tracks, clips, albums), but from concerts. And these concerts can be given anywhere - in another city or even another country.
You can't do with pre-recorded, albeit high-quality, tracks. Concert-goers want to see live musicians and listen to them play live, not enjoy singing "under the plywood".
And what now - for each concert to pay for the transportation of musicians with their instruments? If you take the most popular situation with a non-star and a small concert - with such transportation costs at the concert, you will earn nothing or remain at a loss.