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I don’t agree with all of Martin Mills’s distribution philosophies, but what is fascinating is that the Beggars Group sells albums, because people consider them to be good.
Rather than sign a pretty face, Beggars signs acts that focus on the music, and when you’ve got good music the buzz online is deafening. If Richard Russell signs an act, insiders immediately want to check it out, and at this point, insiders are not only businessmen.
"You read the industry is 60 per cent of the size it was ten years ago. But that 40 per cent that has gone is almost entirely the cream at the top. Records that sold two million now sell 500,000 – that’s where that’s gone. At the same time it’s easier to sell those slightly smaller levels."What’s called pejoratively ‘the new middle class’ is someone like, say, Calexico or Midlake, who can sell 100,000 plus records every time they put out a record; they can play to 3-4,000 people in 30 or 40 cities around the world. And they can make a pretty good living out of that, doing what they love doing, and can do it on their own terms, and that’s fantastic. We’ve got a bunch of bands like that, they’re not necessarily seeking stardom or riches. That’s incredibly healthy."
In America in particular, there’s a constant swinging for the fences. How can we take this developing act all the way, how can we get them on Top Forty radio and TV, how can we bump sales to the point where we can sell out arenas. As a result, the hype is gigantic, turning so many people off. Followers end up being trend-seeking punters, who listen and then abandon. Kind of like club tracks. I’m not talking electronica here, I’m talking those bass-heavy numbers on the Top Forty that play in the background as you attempt to get laid. Doesn’t matter who makes them. It’s kind of like gasoline. How many people really care if it’s Mobil or Shell? Especially now that stations all take the same credit cards, you just fill up when you’re empty, there’s no brand loyalty.
But there’s loyalty to Beggars acts.
The majors are trying to be all things to all people in an era of niches. And they’re so top heavy with costs, their model can’t survive. What exactly is Guy Hands’s plan? Inject more money into a declining business? Isn’t that like overpaying for a used Hyundai? Sure, the songs are worth something. But what’s the return on new music development? And can’t those resources get a better return elsewhere?
Music is now the realm of fans, of believers. If you’re doing it to get rich, get out. Now you’ve got to follow your passion, and doing your job and listening to the music might have to be enough. Then again, if you sign something spectacular, a lot of money can still rain down. But keep it. Because you never know when the next big payday will arrive. And manage your acts so they’ll continue to rain money, don’t whore them out incessantly, that’s like putting crap gas in a Lamborghini. Nurture excellence. Take care of it.
Great ears are much more important than great business instincts. You might know how to sell a great band, but can you find one?
