Hi folks! This is the second half of a two-part entry: I suggest you read my blog entry that immediately precedes this one, before continuing!

In my last posting, I discussed some of the ways in which developing songwriters in the folk genre get paid and how those revenue streams are earned. Today, we'll hear from a bunch of performers and songwriters who are making at least part of their living from their music, and get some straight information about how it really works, and what folk music patrons can do to best support their efforts.

Dan Gonzalez

Dan Gonzalez is a singer/songwriter from the Boston folk scene who has played in Maine many times, and is developing a large following here. Dan plays lots of shows, and has released two wonderful CDs of his introspective, thought-provoking, and musically sophisticated original tunes. The point that Dan made that I think is most important is that the world does not owe a singer/songwriter a living, no matter how good he or she is.

“… I’ve come to realize that music, recorded or live, is not a necessity of life, no matter what we would like to believe. People don’t need it. The onus is therefore on the artist to engage listeners, make them want the music. … Even if someone likes me, and enjoys my songs, if this person chooses to stay home instead of coming out for one of my shows, this means I haven’t done enough to win this person over.” Dan says that “commercial gigs” (background music in bars, playing a mix of covers and originals) are his largest source of music income, followed by CD sales.

Dan also mentions digital downloads as being a factor. Digital downloading of music by independent songwriters and performers from subscription music websites may be a partial answer to the problem of how to get high distribution and sales of recordings when a songwriter has limited time and resources. Many independent songwriters and learning more about this market channel, and capitalizing on it to enhance their income.

Jud Caswell

Jud Caswell is well-known in Maine, and increasingly around the country, thanks to some great exposure he’s received in the past year from winning several songwriting competitions, including Kerrville and at the Boston Folk Festival. Jud feels that he and other songwriters may spend a lot of time re-inventing the wheel and groping around in the dark when it comes to strategies about money. “Being your own manager, booking agent, press agent, and accountant can be a solitary pursuit; you don’t get much feedback or perspective.”

Jud says that for him, getting paid is all about playing at shows and selling CDs. “90% or more of my CD sales are at shows, face-to-face with buyers; I would certainly say that CD sales is the more important stream of revenue (as compared to pay from gigs.) So attendance at a performance is a really crucial aspect of getting that sale.”

Mark Erelli has worked hard over many years to attain a high level of recognition for his music and songwriting; he has built an international reputation as one of America’s best young singer/songwriters, and his last major album, “Hope and Other Casualties”, is being recognized as one of the best releases by any folk songwriter in the recent past.

Mark feels that the importance of these various revenue streams varies as one’s career develops. Depending on the level that a performer has attained, it may be songwriting royalty revenue, or concert and CD sales. As one’s career grows and develops, the revenue stream will change to reflect that.

Paddy Mills (left) and Mark Erelli at the Dogfish Bar and Grille

Paddy Mills is another hard-working Maine singer/songwriter; he released a CD late last summer called “Our Hometown” (produced by Jud Caswell!) that took him to a much higher level of art and accomplishment. Paddy says that gig pay and CD sales are his “bread and butter”. “I play a lot of pubs and restaurants, and consider that to be my day job. However, a large cash grant of say, 4 or 5 thousand dollars would help – it would really take just a couple of those a year to take the pressure off!”

Liz sang the National Anthem at Gillette Stadium for the Patriots / Bears game on November 26, 2006

Liz Carlisle is a Montana native who graduated with high honors from Harvard last summer, and who has made quite a name for herself in the regional and national folk and country music scenes. She also has played in Portland often and has made lots of friends here in Maine. She says that the importance of various types of income is very dependent on circumstances. “Radio airplay of certain songs on certain stations can be very helpful, in terms of royalties and exposure. So requesting a song can sometimes be just as important as a fan buying a CD.”

So how can folk and acoustic music enthusiasts who want to see their favorite singer/songwriter “make it”, help that happen most effectively?

All five of the artists above gave the same answer to this question, though they expressed it differently. It comes down to “spread the word”!

Jud calls it his “holy trinity” – “come to shows; bring friends; buy CDs!”

Liz says that if you have genuinely positive feelings about an artist, pass them along to your friends – post comments on their MySpace or CD Baby page, call local radio stations to make requests (be sure it’s an appropriate format!), and tell your friends. “That will always mean more than any multi-thousand dollar ad campaign!”, she adds.

Paddy, Mark, and Dan all agree; spreading the word, getting friends to listen, and buying CDs for friends is the best way to help a “journeyman” singer/songwriter reach their goals. Paddy adds, “And don’t forget to clap!”

As Dan said above, it’s really his job to inspire you to do that – but if he’s able to reach you at that level, you can do a lot to return the favor!

Thanks for reading!
Bob McKillop

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