We’re selling out shows, merch sales are up.' And BitTorrent's core philosophy of transparency and openness means they share all the data it collects with the artist, from fan email addresses to geographic locations, allowing them to more effectively plan tours and sell tickets.(P) 2000 A Joint Venture Between So So Def Recordings and Sony Music Entertainment Inc. As Austin Briggs, Jet Life’s Digital Marketing Strategist, said after the release of Curren$y’s Drive In Theatre, 'Over the course of two campaigns, we’ve reached an audience of over seven million fans. And even when artists choose to release music for free, they can see real booms in the other revenue streams that have come to define the music business in 2016. Most obviously, some Bundles also have a purchase option, which to sell his Tomorrow’s Modern Boxes project, which netted him at least several million dollars. 'With the growth of fast food music, we think there's a real demand for more substantial music experiences, especially digitally.'Ĭrucially, all of this is more than empty 'art' talk, nice in theory but unsustainable as a business model. BitTorrent's also proven that its Bundles can translate to real revenue streams for artists. Honestly, none of those projects even crossed my mind when thinking of 2015's most popular releases, but now I realize that's only because that as forward thinking as I like to think I am, I was woefully blind to BitTorrent's potentially seismic influence. Paul White and released their collaborative project, Golden Ticket, as a Bundle and racked up 1.3 million downloads, while producer Salva's Secret Stash 2 garnered 1.2 million, and Little Simz' Age 101 project pulled in nearly 800,000 downloads.
In 2014, Curren$y released a that reached over three million downloads, a number that reveals a vastly larger audience for Curren$y's music than traditional metrics would indicate. And while Ratking was the most successful Bundle release of 2015, the New York City crew was.
I think that's profoundly different than the experiences you get in the broader music landscape.' The response to that profoundly different experience has been staggeringly successful, at least for those of us accustomed to living in that aforementioned broader music landscape.
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