“To make a living as a craftsperson, photographer, musician, designer, author, animator, app maker, entrepreneur, or inventor, you need only thousands of true fans,” wrote Wired magazine founder Kevin Kelly in 2008.
Known as the “1000 TRUE FANS THEORY”, you basically need 1,000 people to buy $100 of your product to comfortably support your art.
Ten years later, Quebecois music critic Alain Brunet discussed the music world in the digital age with the concept of “niche misery.” He concluded that the transformation of the music ecosystem by the internet, with its abundance of artists and songs, created an era of monopolies and multiple communities. This resulted in a stark divide between multimillionaire superstars and artists struggling to generate revenue from their music sales.
For those who experienced the 80s, 90s, and 2000s, when superstars like Michael Jackson, Madonna, and others could release generational hits, it's clear that in 2024, the lifecycle of artists (or products) is very short.
What was once considered an insult to be a One-Hit Wonder is today an achievement, even a goal.
The Fantasy of the Rich Superstar
There is a common belief, which I attribute to the post-Warhol era, that artists are rich and successful. Historically, artists have always relied on patrons to develop their art (e.g., Michelangelo, Mozart), but the media’s glamorous portrayal has given us the illusion of a life of glitz and glamour.
This is understandable: who would dream of knowing that most artists struggle for years without necessarily making a living from it, or that success often comes at the expense of their psychological and physical health?
With the transformation of the industry, the end of album sales, and the shift to digital, one of the main sources of income for artists was live performances. Drastically changed by COVID-19, the environment in which bands operate has completely altered, creating a world where, as The Guardian reported in April, touring is increasingly done without profit, or even at a loss.
“Artists are the biggest employers in the industry. They pay for the tour manager, session musicians, agent, manager, crew, insurance, travel, accommodation, equipment, rehearsal space, production. Everything. I don’t think people know this is all the stuff that the artist pays for and does“
Dan Potts, Red Light Management
Industry Plant or Normal Path to the Next Superstar: Example of Billie Eilish
Billie Eilish's ascent to fame is a compelling narrative of familial support and strategic industry moves. Born to parents Maggie Baird and Patrick O’Connell, both actors deeply embedded in the cinema world, Billie was immersed in the arts from a young age. Her breakthrough came when she and her brother Finneas uploaded “Ocean Eyes” to SoundCloud in 2015, catching the attention of major platforms. Spotify played a pivotal role by featuring her in their Christmas playlist, significantly amplifying her reach. Should we think that everything was planned?
Billie's journey was further chronicled in a documentary that captured her evolution from her 13 to her 17 years old. Four years is not that long if we consider everything was part of a plan. But… should we think that everything was planned?
In the digital age, Billie has adeptly utilized social media to maintain and grow her fanbase. A recent Instagram marketing trick, where she used the "close friends" list to share exclusive content, created a sense of exclusivity and deeper connection with her followers. While her fans thought it was a purely authentic move, it's impossible to add millions of people to a close friends list one by one, which strongly suggests a maneuver orchestrated between her label and Instagram/Meta.
When we think about Billie Eilish, her move, her position on social issues, should we think that everything was planned?
No Money, More Money: The TikTok Paradox
Nowadays, music labels are trying to use TikTok to find the next big star, bypassing the traditional artist development process. To make it short: from finding and developing talent over the long term to seeking instant viral success. But it seems that in the digital age's celebration of individuality, genuine superstars are becoming harder to find. TikTok's algorithm promotes quick fame, but this often results in short-lived popularity rather than lasting careers.
Viral hits often overshadow the deeper connections between artists and fans, leading to brief moments of fame without long-term support.
You may have heard some artists saying there is no money in music because it’s hard to make money. Well, that’s not true. There is money, but this money is centralized in certain areas, and when labels put so much budget as leverage for the next viral sensation, it’s not a guarantee of success.
It’s kind of a vicious circle of: investing, taking back money, throwing away the artist, and investing in another one.
One reason why labels are still trying this method may be a disconnection from the truth of what’s happening at the base of the pyramid, how people consume music daily, how they vibe, and how they are now able to recognize what’s fake. There is a need for authenticity.
The superstars are dead, long live the superstars.
In the digital age, the era of the traditional superstar is fading.
One-hit wonders are now celebrated, reflecting our fast-paced, ever-changing cultural landscape. Yet, the human need to idolize remains strong.
Even if the concept of a superstar evolves, we continue to seek figures to admire and emulate. Like modern-day polytheists, we worship our disposable little gods, fleeting yet impactful.
The superstar may change form, but our inherent desire to elevate individuals will ensure that some version of them always exists. This intrinsic need guarantees that the allure of the superstar will never truly disappear.
So, if you just started making music and want to get rich from it, think again. If you’re not here for the thrill and the journey, you might need to reconsider your approach.